Ring Lardner, Jr. Movies

Bertholt Brecht (1898-1956) was a groundbreaking German playwright, movie-maker, and poet. Among his well-known works are the musical drama The Threepenny Opera (which originated the famous song Mack the Knife in collaboration with composer Kurt Weill), and the harrowing drama Mother Courage and Her Children, which have become part of the world's standard theatrical repertory. Due to his leftist political sympathies, despite his eminent stature in Germany, he decided to live the life of an exile in the United States between 1941 and 1947. This documentary explores that period in his life. While in the U.S., he supported himself by writing screenplays such as the one he wrote with Charles Laughton for Galileo Galilei). His leftist sentiments and intense idealism brought him into conflict with the increasingly hysterical anti-communist activities of branches of the U.S. government. When he was brought before the House Un-American Activities Committee (H.U.A.C.) to testify, along with other culturally influential men such as Ring Lardner, Jr., he was unable to adequately defend himself. The day after his testimony, he returned to (East) Germany, to resume his career there. ~ Clarke Fountain, Rovi

With Muhammad Ali cast as himself, The Greatest covers Ali's life from his "Cassius Clay" days to the celebrated Ali/George Foreman bout. Along the way, the film focuses on Ali's conversion to Islam and his potentially career-breaking decision not to serve in the Army. Ernest Borgnine palys Ali's first trainer Angelo Dundee, while Roger E. Mosley shows up as Sonny Liston. The Greatest was the final directorial effort from the late Tom Gries. The same subject would later be covered in Michael Mann's Ali, starring Will Smith as the champ. ~ Hal Erickson, Rovi

The well-known short-story writer Ring Lardner, Jr. wrote the screenplay for La Mortadella, an Italian/French production with mostly English dialogue. The story concerns the difficulties and reactions of Madelena (Sophia Loren), an Italian visitor to New York City. She has come to the country carrying a huge mortadella sausage which she intends as a gift for her fiancé. U.S. Customs has other ideas, however, and she is detained until she hits upon the idea of sharing the offending foodstuff with the customs officers. Finally allowed entry into the U.S., she grows disenchanted with her fiancé and other men she meets and is only with difficulty able to make her escape to a more agreeable location. ~ Clarke Fountain, Rovi

Steve McQueen stars as the Cincinnati Kid, a crackerjack New Orleans stud poker player. Tired of chicken feed, the Kid decides to challenge The Man (Edward G. Robinson), the reigning poker champ, who is in town for a private game. The Shooter (Karl Malden), another gambling pro, arranges a game between the Kid and the Man, with the Shooter dealing. The game is compromised by the intervention of Slade (Rip Torn), an old foe of the Man's who tries to fix the outcome. The Kid finds out about this and tells Slade to get lost, preferring to win fair and square. The outcome is in the cagey hands of The Man, who is smart enough to do (as one reviewer put it) the wrong thing at the right time. The Cincinnati Kid was based on the novel by Richard Jessup. ~ Hal Erickson, Rovi

While far from the only good film on boxing, Champion is perhaps the best drama ever based on the fight game. It is remarkable for a number of things: the unrelenting, grinding logic that leads to the hero's tragic fate; the beautiful cinematography and editing that make it a masterpiece of light and shadow; near-perfect performances by everyone, from Kirk Douglas as Midge Kelly, down to the actor who plays a sleazy small-time ring manager; and the boost it gave to the budding careers of Douglas and others. The basic story has been told many times, but never so powerfully: a poor, ambitious boy accidentally learns that he is a "natural" boxer, and that he might "go all the way." He wins his early fights with ease and, at last, in the big one, he becomes champion of the world. Then rot sets in. He lives it up, deserts his loved ones and best friends, and loses his physical and moral advantages. Near the end -- out of condition, demoralized -- the champion loses (or almost loses) his boxing crown. Finally, he grits his teeth, returns to rigorous training and to people he really likes, and he regains (or holds onto) the championship.

Part of Champion's dramatic superiority is in its brilliant revealing of the boxer through the eyes of other people in his life. There are good guys: Midge's brother Connie (Arthur Kennedy); his tough but honest trainer (Paul Stewart); his wife, Emma (Ruth Roman); and Johnny Dunne, the up-and-coming contender he eventually beats. There are bad guys: the manager who cheats him in his first, amateurish fight; two successive "owners," of the diner where Midge and Connie try to be entrepreneurs and end up as dishwashers; the blonde siren (Marilyn Maxwell) who abandons Johnny Dunne and helps corrupt Midge; and the mob-connected promoter Harris, who gets Midge his championship bout. There are ambiguous in-betweens, like Palmer (Lola Albright) who is Harris' wife, but who loves Midge and is, perhaps, loved in return. Then there is Midge himself. Unlike Charlie in Body and Soul (John Garfield, 1947) or the hero of the Rocky quintuplets (Sylvester Stallone, 1976-1990), Midge is not a basically nice guy who's been led astray. His ambition, arrogance, and stubbornness make him at once villain and hero. These "fatal flaws" contain, as surely as in Macbeth or Othello, the seeds of the champ's ultimate dissolution. Midge is dealt his share of life's unfairness and bad luck. Yet it is not the events themselves, but his bitter, violent responses to each blow that seal his doom. The final irony comes when he makes his comeback. In the last round of the last fight, his most manly virtues -- bull-like strength and stubborn stamina -- bring about both victory and defeat.

Too bad that this wonderful film -- nominated for six Oscars including Best Actor -- won only an Academy Award for Film Editing (Harry Gerstad) and a Golden Globe Award for Best Cinematography (Franz Planer). All the acting performances are superb: Champion was the breakthrough role for Douglas; his Oscar nomination led to many later starring vehicles. Champion also launched the careers of actresses Roman and Albright, and has what is probably Marilyn Maxwell's finest performance as the unforgettable gold digger Grace Diamond. And all that terrific acting certainly implies some credit for director Mark Robson, who went on to do award winners like Bright Victory and The Inn of the Sixth Happiness. Regardless of what Oscars it won or didn't win, Champion is a landmark film that should be on everyone's must-see list. ~ Michael P. Rogers, Rovi

Radio humorist Henry Morgan made his film debut in So This is New York. Based on The Big Town, a collection of stories by Ring Lardner, the film traces country bumpkin Morgan's progress as he uses an inheritance to take a trip with his wife (Virginia Grey) and sister-in-law (Dona Drake) to the New York of the 1910s. He encounters numerous oddball characters, the most colorful of which is a drunken jockey (Leo Gorcey). The boxer and at least four other Broadwayites (Hugh Herbert, Rudy Vallee, Bill Goodwin and Jerome Cowan) complicate Morgan's life when they court his wife's sister--most of them hoping for a slice of that inheritance. The movies were not the ideal medium for the satiric barbs of Henry Morgan, though he plays his role well and carries the film with assurance. In addition to being Morgan's first picture, So This is New York was also the maiden voyage for producer Stanley Kramer. ~ Hal Erickson, Rovi

Inspired by actual events, Cloak and Dagger was first major "atomic power" melodrama of the postwar era. Gary Cooper stars as bookish physics professor Alvah Jesper, a character obviously based on A-bomb codeveloper J. Robert Oppenheimer. Pressed into service by the OSS in the last months of WW2, Jasper is sent to Europe in search of Dr. Polda (Vladimir Sokoloff), an atomic scientist held captive by the Nazis. In Switzerland, Jesper quickly runs afoul of enemy spies who murder the only person to know Polda's whereabouts. Moving on to Italy, he links up with the partisans, falling in love with gorgeous resistance fighter Gina (Lilli Palmer). Adopting a disguise, Jesper finally locates Polda and spends the last few reels in a desperate dash to freedom. Screenwriters Albert Maltz and Ring Lardner Jr. had originally intended Cloak and Dagger as a warning to a complacent America. Director Fritz Lang recalled in later years that, as conceived and filmed, the ending was to have occured after Jesper and a group of Allied soldiers stumbled upon the ruins of a secret Nazi A-bomb factory, as well as evidence that the German scientists had fled to parts unknown with their atomic secrets intact. "It's day one of the Atomic Age", Jesper was to have noted ruefully, "And God help us if we think we can keep it a secret much longer." This lengthy coda was removed from the final release print, transforming a thought-provoking drama into a mere romantic thriller. ~ Hal Erickson, Rovi

14-year-old Skip Homeier repeats his stage role as an unreconstructed Hitler Jugend in the film version of the James Gow/Arnaud D'Usseau stage play Tomorrow the World. A German orphan, Homeier is taken into the home of his American uncle (Fredric March), a gently liberal university professor. Though the son of an anti-Nazi, little robot-like Skip has become a parrot for the Third Reich, denouncing his late father as a traitor and being as nasty as possible to the professor's Jewish fiancee (Betty Field). Homeier accepts democracy only when the professor forgets his fuzzy-headedness and applies a little "physical culture." The moral really shouldn't be "Love America or We'll Break Every Bone in Your Body," but given the times in which it was made, Tomorrow the World can be forgiven its excesses. ~ Hal Erickson, Rovi

Spencer Tracy and Katharine Hepburn costarred for the first time in the delectable romantic comedy Woman of the Year. Tracy plays New York sportswriter Sam Craig, who becomes incensed at comments about the uselessness of sports made by foreign correspondent Tess Harding (Hepburn). Sam and Tess subsequently use their respective columns to carry on a feud-at least, until they finally meet face to face. After Sam takes Tess to her first baseball game (one of the funniest scenes ever committed to celluloid), the two fall in love. Once married, however, their happiness is threatened by their wildly divergent lifestyles (Sam hadn't intended to spend his honeymoon helping to hide a prominent European refugee from the authorities, nor is Tess prepared for her husband's rowdy sports-oriented pals). When Tess is voted "Woman of the Year", a jealous Sam walks out on her. She endeavors to win him back by cooking him breakfast-with disastrous results. Despite their oil-and-water relationship, Sam and Tess are made for each other, and they're back together for the final fadeout. A hands-down winner at the box office, Woman of the Year earned a "best original screenplay" Oscar for Ring Lardner Jr. and Michael Kanin. Nominated for an award was director George Stevens, an RKO contractee brought to MGM at Hepburn's insistence. And need we remind you at this late date of the subsequent lifelong romance between stars Spencer Tracy and Katharine Hepburn? ~ Hal Erickson, Rovi

The second entry in RKO Radio's "Dr. Christian" series, Courageous Dr. Christian was like the first inspired by the popular radio weekly. In this one, kindly general practioner Dr. Christian (Jean Hersholt) tends to the needs of a group of indigents, living in squalor in the town's shanty district. The local "landed gentry" is indifferent to the plight of the squatters, until an outbreak of spinal meningitis threatens the entire community. On a lighter note, Dr. Christian spends a good portion of his screen time fending off the romantic overtures of wealthy dowager Mrs. Stewart (Vera Lewis). Like the others in the "Christian" series, Courageous Dr. Christian is currently available from a wide variety of public-domain video sources. ~ Hal Erickson, Rovi

As a direct result with his excellent showing as warm-hearted Dr. Dafoe in the Dionne Quintuplets films, Jean Hersholt was awarded a not dissimilar radio series about a kindly general practioner named Dr. Christian. Two years after the debut of the Dr. Christian radio series, RKO Radio launched a group of films based on the property, again with Hersholt in the lead. First of the series was Meet Dr. Christian, in which the viewer was introduced to the titular doctor, his fussbudget housekeeper Mrs. Hastings (Maude Eburne), his favorite nurse Judy Price (Dorothy Lovett), Judy's pharmacist boyfriend Roy Davis (Robert Baldwin), and grouchy but lovable town grocer George Browning (Edgar Kennedy). Set in the town of River's End, the story concerns the efforts made by the pompous mayor to remove Dr. Christian from his position as the town's health officer and replace him with a more "modern" medico. Ultimately, Christian proves his worth by performing a delicate operation without the benefit of the proper instruments. As a result, he not only keeps his job but is able to convince the town council to erect a new hospital. The overwhelmingly positive response to Meet Dr. Christian encouraged RKO to continue the series, ultimate toting up six profitable entries. ~ Hal Erickson, Rovi

Johnny Downs takes a break from his usual campus musicals to play a small-town songsmith in Blonde Trouble. Attempting to make it big in New York, Downs falls victim to con artists, back-stabbing agents and vainglorious "artistes." But with the help of down-to-earth Eleanor Whitney, Downs pens a hit song that plants him firmly on Easy Street. The best lines go to seasoned comedy pros Lynne Overman and William Demarest. The music in Blonde Trouble was co-written by Burton Lane, several years removed from his Broadway hit Finian's Rainbow. ~ Hal Erickson, Rovi

In this rollicking adaptation of Ring Lardner's short story, Joe E. Brown plays an ace baseball player whose insistence upon making up excuses earns him the nickname "Alibi Ike." In the course of his first season with the Chicago Cubs, Brown also falls in love with Olivia De Havilland, sister-in-law of the team's manager. Brown's "alibi" habit prompts De Havilland to walk out on him, whereupon he goes into a slump-- which coincides with attempts by gamblers to get Brown to throw the World Series. The plot weaves its way towards a climax in which Brown escapes the gamblers by commandeering an ambulance and driving onto the ball field during the final Series game. Alibi Ike was the most successful of Joe E. Brown's "baseball trilogy" (which included Elmer the Great and Fireman Save My Child), and one the best baseball comedies of all time. ~ Hal Erickson, Rovi