Alan Hale Movies

The Sporting Lover was produced by Faultless Pictures Corporation, leaving the picture wide open for wisecracks from the less-impressionable critics. The title character, played by Conway Tearle, is Captain Terrance Connaughton, known far and wide and as the most romantic man in the Army. Flitting from woman to woman, Connaughton finally decides to settle down when he falls in love with Lady Gwendolyn Cavens (Barbara Bedford). But alas! Lady G. will be forced to wed the evil Sir Philip Barton (Ward Crane) unless her horse "Good Luck" wins the Big Race. So just guess who straightens this mess out. That's right, it's Captain Terrance Connaughton, whose capacity for goodness is almost as big as his name. ~ Hal Erickson, All Movie Guide

Produced by Sam Goldwyn, this second film version of Olive Higgins Prouty's Stella Dallas is by far the best. The combined talents of Goldwyn, director King Vidor and star Barbara Stanwyck lift this property far above the level of mere soap opera. Stanwyck is perfectly cast as Stella Martin, the loud, vulgar factory-town girl who snares wealthy husband Stephen Dallas (John Boles). When Stephen is offered a job in New York, Stella stays behind, knowing that she'll never be part of her husband's social circle. She pals around platonically with her old beau, the cheap and tasteless Ed Munn (Alan Hale), a fact that drives yet another wedge between Stella and her husband. The final straw is daughter Laurel's (Anne Shirley) birthday party, which is boycotted by the local bluenoses. Though she would like to remain part of her daughter's life, Stella knows that she and she alone is the reason that Laurel is shunned by the rest of the community. ~ Hal Erickson, All Movie Guide

Practically everybody on the Warner Bros. lot shows up in the wartime morale-boosting musical extravaganza Thank Your Lucky Stars. Believe it or not, this one has a wisp of a plot. A pair of enterprising producers, played by S.Z. Sakall and Edward Everett Horton, want to hire singer Dinah Shore for their upcoming Cavalcade of Stars. Unfortunately, this means they must deal with Shore's boss, radio comedian Eddie Cantor. The egotistical Cantor insists upon joining the show himself, driving everyone crazy with his take-charge attitude. Meanwhile, singer Dennis Morgan, hoodwinked by a crooked agent into thinking he's signed a contract with Cantor, shows up backstage at Sakall and Horton's rehearsal, only to be given the boot. While all this is going on, aspiring actress Joan Leslie has befriended a bus driver named Joe Simpson--who happens to be a dead ringer for Eddie Cantor (and why not? Ol' "Banjo Eyes" plays both parts). Turns out that Joe is another showbiz wannabe, but he has been denied a break because he looks too much like Cantor. You see what's comin' now, right, folks? Morgan and Leslie will get their big breaks when Joe Simpson impersonates Eddie Cantor, who's been kidnapped by Indians (bet you didn't see that one coming!) All of this expository nonsense is merely an excuse to show off Warners' talent roster in a series of engaging specialty numbers: John Garfield talk-sings Blues in the Night, Jack Carson and Alan Hale do a buck-and-wing, a jitterbug number is performed by Ida Lupino, Olivia de Havilland and George Tobias, Hattie McDaniel and Willie Best strut their stuff in Ice Cold Katie, and so on. Highlights include Errol Flynn's That's What You Jolly Well Get, an English music hall-style sendup of Flynn's movie heroics, and Bette Davis' peerless (and endearingly off-key) rendition of They're Either too Young or Too Old. As a bonus, Humphrey Bogart shows up long enough to be browbeaten and intimidated by S.Z. Sakall ("Gee, I hope none of my movie fans see this!" moans Bogart as the soundtrack plays a mocking rendition of Who's Afraid of the Big Bad Wolf?) Subtle and sophisticated it isn't, but Thank Your Lucky Stars is so entertaining that you'll forget all about its multitude of flaws. ~ Hal Erickson, All Movie Guide

Though Errol Flynn was well past his prime (and obviously well lubricated in certain scenes), he rises to the occasion of The Adventures of Don Juan with a spirited, athletic performance. As fabled Spanish swashbuckler/lover Don Juan, Flynn spends the early portions of the film romancing willing young ladies and dueling with jealous husbands. Spain's Queen Margaret (Viveca Lindfors) assigns Don Juan to head the royal fencing academy to keep him out of trouble. When scheming Duke de Lorca (Robert Douglas) plots to topple the monarchy, it is Don Juan's eager young fencing pupils who come to the rescue. Though a troubled production (filming was habitually halted due to Flynn's precarious physical condition and by constant changes and replacements in production personnel),The Adventures of Don Juan moves swiftly and enjoyably from start to finish, abetted by a rousing, semi-satirical Max Steiner musical score, which has since been heard in such 1980s films as Zorro, the Gay Blade and Goonies. Incidentally, Errol Flynn is doubled in the famous leap from the head of a long staircase by stunt expert Jock Mahoney. ~ Hal Erickson, All Movie Guide

Dismissed by critics as corny and obvious in 1944, this overlong but sincere biopic looks pretty good when seen today, cliches notwithstanding. Fredric March, 47 at the time, convincingly plays American author Sam Clemens, aka Mark Twain, from his early 20s to his death at 75. In typical movie-biography fashion, every single incident that happens in Twain's life is an INSPIRATION: he hears the depth-indication call "Mark Twain" while working on a riverboat and his face lights up; he engages in a jumping-frog contest against Bret Harte (John Carradine) and comes up with his first popular published story; and so on. Alexis Smith is better than usual in the role of Twain's wife Olivia Langdon, even keeping a straight face while Twain courts her in Fluent Quotation ("Everybody talks about the weather but nobody ever does anything about it", he says during a Hollywood-romance cloudburst). Though the script barely touches upon the dark side of Twain's nature, we are not spared his financial reverses (brought about by bad investments and his struggle to publish Ulysses S. Grant's memoirs. The closing sequence, with Tom Sawyer and Huck Finn beckoning the spirit of Mark Twain to heaven as Halley's Comet fills the skies, may seem laughable on paper, but works quite well on film; even director Irving Rapper expressed amazement at the effectiveness of this scene! ~ Hal Erickson, All Movie Guide

The Country Beyond is based on one of the scores of Canadian-Northwest yarns written by James Oliver Curwood. Robert Kent plays Corporal Robert King, a Mountie who has sworn to "get his man" -- the man in question being suspected fur thief Jim Alison (Alan Hale). Kings's resolve is weakened when he falls in love with Alison's pretty daughter Jean (Rochelle Hudson). For her sake, he vows to prove that Alison is innocent of the charges levelled against him. Sure enough, the real culprit is Ray Jennings (Alan Dinehart), who spends the last ten minutes or so of the film trying to bump off everyone in general and Kent in particular. ~ Hal Erickson, All Movie Guide

Silent film leading lady Priscilla Dean's best years were behind her when she made Crimson Runner. Still, her ability to convey emotion in the most subtle, economical manner possible had not dimished. Dean is cast as the "brains" of a European criminal gang. But she's not all bad: in fact, Dean and her cohorts are modern-day Robin Hoods, stealing from the very rich to give to the very poor. A kindly-and handsome-aristocrat convinces Dean to give up her life of crime, but not before she has settled accounts with those responsible for her father's death. The hero of Crimson Runner is played by Bernard Siegel, an actor better known in the 1920s for his Native American characterizations. ~ Hal Erickson, All Movie Guide

Although Wallace Reid stars in this picture (based on the comic opera by Richard Harding Davis), Walter Long just about steals the show. Brooke Travers (Reid) is the easygoing son of a banana merchant. He runs up a 60-dollar fare by playing stage-door Johnny up and down all the Broadway theaters, and cab driver Biff Dooley (Long) is determined that Travers will ante up. But Dooley's task proves to be more difficult than he first suspected when Travers follows pretty Juanita Rivas (Lila Lee) to her home country of San Manana, in South America. First off, the two men have to work for their passage on the boat; then when they arrive in San Manana, they find it in the midst of a revolution. Travers has to save Dooley from a firing squad and he helps put Juanita's father Carlos (Theodore Kosloff) into power. The grateful Rivas makes Travers, who marries Juanita, Minister of Finance. While trade paper Motion Picture News gave the film good marks, it notes that Reid "has lost some of his dash and spontaneity" -- an ominous statement considering that the star died from his addiction to drugs six months after its release.
~ Janiss Garza, All Movie Guide

This 1923 Hollywood thriller The Eleventh Hour should not be confused with the like-vintage British melodrama of same name. This Fox production top-bills heroine Shirley Mason, but the star of the proceedings is Charles Jones as Secret-Service agent Brick McDonald. His principal antagonist is foreign prince Stefan de Bernie (Alan Hale) (whose Irish brogue remains mercifully unheard). Prince Stefan wants to take over the world, using any means of technology available. But McDonald also has an up-to-date arsenal of weaponry and vehicles at his disposal, and he intends to use them in as exciting a manner as possible. The Eleventh Hour is so reliant upon its outdoor action that it's hard to believe the film was based on a play (by Lincoln J. Carter). Leading man Charles Jones is better known as cowboy star Buck Jones. ~ Hal Erickson, All Movie Guide

Producers insisted upon casting opera stars in their silent films all throughout the teens and twenties. Some, like Geraldine Farrar, were appealing enough personalities to survive without relying on their voices. Others, like Lina Cavalieri, failed to click with filmgoers, and soon retreated to the more friendly environs of La Scala and the Metropolitan. In The Eternal Temptress, Ms. Cavalieri plays a seductive foreign princess who uses her wiles on a US diplomat. This she does on behalf of the Austrian government, for which she is a secret agent. At the last moment, the temptress falls in love with the tempted, saving him from disgrace. ~ Hal Erickson, All Movie Guide

The mystical novels of Vicente Blasco-Ibanez were much prized by ambitious silent filmmaker Rex Ingram, who filmed two of them in the 1920s, both ostensibly vehicles for his actress wife Alice Terry. The first of the two, Four Horseman of the Apocalypse, was infinitely more successful than the second (Mare Nostrum), a fact that can be attributed to two little words: Rudolph Valentino. The quintessential Latin Lover stars as Julio, the scion of a wealthy Argentinian family. During the years prior to World War I, Julio's relatives relocate to Germany and France, with Julio opting for the latter country, where he opens an art studio. Here he carries on a torrid affair with Alice Terry, the wife of an attorney. When World War I breaks out, Terry joins the Red Cross and her husband enlists in the army, while the carefree Julio avoids involvement in the conflict. Only when visited by the spectres of the Four Horseman--war, conquest, famine, and death--does Julio don a uniform. His death is a symbolic sacrifice on behalf of Ms. Terry, whose husband has been blinded in the war: and, in an additional symbolic grace-note, Julio dies at the hands of his own cousin, now a German officer. The film's Big Money sequence was the one in which Rudolph Valentino danced the forbidden tango in a dingy, smoke-filled Argentinian cantina. That's what made him a star, not all that mumbo-jumbo about fate, destiny, and Four Horsemen. Proof that Valentino and not Blasco-Ibanez was the principal drawing card of this film was the 1962 remake, in which Glenn Ford portrays Julio. ~ Hal Erickson, All Movie Guide

The Great Mr. Nobody is an easygoing classified ad salesman, appropriately nicknamed Dreamy (Eddie Albert). All Dreamy wants out of life is to own a boat and drift aimlessly across the ocean in the company of his good pal Skipper (played by Alan Hale-ironically the father of Gilligan's Island's "Skipper" Alan Hale Jr.) Only one problem: Dreamy is bereft of cash, and is constantly in danger of losing his job because he continues to reserve the best of the classifieds which cross his desk for his unemployed friends. Our hero's saving grace is that he is a veritable fountain of surefire moneymaking ideas; now all he needs is someone to listen. 16-year-old Joan Leslie was obviously being groomed for bigger things when she costarred with Eddie Albert in this low-pressure B picture. ~ Hal Erickson, All Movie Guide

The satirical bite of Gogol's play The Government Inspector is dispensed with in favor of traditional Danny Kaye buffoonery in The Inspector General. Kaye plays the illiterate stooge of two-bit medicine-show- entrepreneur Walter Slezak. Abandoned by Slezak, the starving Kaye wanders into a corruption-ridden Russian village, which is all geared up for a visit from the Inspector General. Mistaking Kaye for that selfsame royal inspector, the townsfolk fawn on the confused Kaye, granting him his every whim and plying him with all sorts of bribes. In the original Gogol play, the boorish phony inspector takes advantage of the villagers' error by laying waste to the town and seducing a few local maidens; in the film, Kaye is as pure as the driven borscht, as is his true love (Barbara Bates), the only honest person in town. The treachery is in the hands of Slezak, who fakes Kaye's death and tries to blackmail the crooked local officials. The deus-ex-machina arrival of the real Inspector General foils the crooks and places the nonplused Kaye in the job of town mayor. Those of you who read the play in college may remember it ends with everyone frozen in horror when the genuine inspector shows up, with Gogol's stage directions insisting that the actors hold their fearful poses for a full sixty seconds. Be assured that in the film version of Inspector General, nothing stands still--least of all Danny Kaye, who cuts quite a swath through several Sylvia Fine/Johnny Mercer specialty songs. ~ Hal Erickson, All Movie Guide