Sam Harris Movies

A pre-Hopalong Cassidy William Boyd is the robust star of this logging camp melodrama which also featured a very young Ginger Rogers -- who performs Bernard Grossman and Harold Lewis' "How Could I Love You" -- and Hollywood veteran Hobart Bosworth. The latter plays Jim Gannon, a lumberjack boss whose son Buck (Boyd) is neglecting his duties in favor of romancing riverboat entertainer Honey (Rogers). Father and son come to blows but their animosity ends after Buck rescues Jim from a runaway logging train. Feeling left out, Honey plans to leave with the carnival boat but decides to stick around after violence erupts at the hands of villainous lumberjack Hack Logan (Fred Kohler). Carnival Boat was filmed on location at Big Pine, CA. ~ Hans J. Wollstein, All Movie Guide

One of the most technically accomplished and sophisticated movie musicals of the 1930's, Rouben Mamoulian's Love Me Tonight (1932) had a profound effect on the shape of the musical genre (especially the films of Vincente Minnelli), and remains a candidate for best movie musical ever made, some seven decades after its release. And that distinction is based entirely on its style and structure -- it doesn't even take into account a hit-laden score by Richard Rodgers and Lorenz Hart, or a raft of delightful performances, several of them totally unexpected in their range and wit. The movie opens with an amazing double audio/visual montage sequence, in which the sleeping city of Paris awakens to a slowly rising chorus of sounds, street by street, house by house -- forming what the script describes as a "symphony" of sound -- which coalesces into a song. It is through the latter that we meet Maurice Courtelin (Maurice Chevalier), a young Parisian tailor who has just completed his first big job, an order of 15 suits for the Viscount de Varese (Charlie Ruggles), who has promised to pay him on delivery. He then discovers that the Viscount is little more than an upper-class ne'er-do-well who, among his other faults, has no money of his own -- being completely dependent on his crusty old uncle the Duke (Sir C. Aubrey Smith) -- and never pays his bills. In one of a half-dozen remarkable musical scenes, as Maurice's friend Emile (Bert Roach) ponders the matter of love in the new suit he has made for him, Maurice begins singing "Isn't It Romantic?", causing Emile to hum the tune as he strolls onto the street; the song is picked up by a taxi driver (Rolfe Sedan), and passed to his passenger (Tyler Brooke), a composer, who carries it aboard a train, humming it, where a group of soldiers hear it and end up singing it as they march across a field, where a young gypsy hears it and carries it to his camp on his violin, where the whole clan is soon singing. And the song is finally wafted across the surrounding fields to the estate of the Duke and the Viscount de Varese, where it is heard and sung by the Duke' niece, Princess Jeanette (Jeanette MacDonald). The two characters, Maurice and Jeanette, are linked for us in this way even before they meet, and the stage is set for the rest of the plot. For the Princess, living under her family's tradition-bound hand, romance is a source of unhappiness; there's no one at the chateau to interest her, and even if there were, she couldn't dare to be interested; already a widow from an arranged marriage at age 22 (her first husband was 75), she must marry someone of equal royal rank, and the only two known candidates in all of Europe are ages 85 and 12, respectively. Maurice journeys to the chateau with the clothes the Viscount ordered, hoping to confront him for payment, and is mistaken for one of the guests -- and he crosses paths with the Princess, and falls in love with her. Identified as the Count de Courtelin, he delights the rest of the guests with his joie de vivre and his way with a song, especially "Mimi" (which somehow managed to make it past the censors, despite some amazingly risque lyrics), getting the entire coterie of nobles singing it in his wake. But the Princess is resistant to his free and easy charm and flirtations, her staid upbringing and sense of station fighting her natural inclinations, while her other would-be suitor, the Count de Savignac (Charles Butterworth), is suspicious of this new-found rival. Also present at the estate is the Duke's other niece, Countess Valentine (Myrna Loy), who has a nymphomaniac interest in men under the age of 40, of whom Maurice is the only one at the chateau not related to her -- thus, he must fend off her advances while trying to woo a woman who wants nothing to do with him. Rumor soon spreads that Maurice is, in fact, a full-blooded royal prince traveling in disguise. And if he is a prince of the rank they think he is, then suddenly the Princess's marital and romantic prospects seem a lot more encouraging, especially as she begins to melt to his charm. Maurice wants to tell her the truth, but will she feel the same way about him, knowing that he is a commoner, a tradesman ... a tailor? Director Rouben Mamoulian had already jump-started the musical genre with the backstage drama Applause (1929), to great critical and financial success. In contrast to that movie's deceptively naturalistic approach to its subject, Love Me Tonight was highly stylized -- Applause had no actual musical numbers in complete form, while Love Me Tonight was filled with incredibly elaborate and subtle musical set-pieces that grow naturally out of the plot (adapted from a play by Paul Armont and Leopold Marchand) and advanced the narrative. Some of the scenes here helped set the stage for works such as An American In Paris and Gigi (one scene near the end, when Maurice's identity is revealed, seems to have been the model for "The Gossips At Maxim's" from the latter film) and Funny Face. Such is Love Me Tonight's reputation, that in the summer of 2007, 75 years after its release and more than five years after it showed up on DVD, the movie chalked up sell-out audiences when it opened the Mamoulian retrospective at New York's Film Forum. ~ Bruce Eder, All Movie Guide

If Queen Christina is not the best of Greta Garbo's films (as many Garbo fanatics insist), it is certainly the most luxuriously romantic of her talkie features. The star is cast as 17th-century Swedish queen Christina, who feels that she can best function in a male-dominated world by adopting men's clothes and attitudes (this cross-dressing element adds a subliminally gay subtext which curiously makes the subsequent events all the more poignant). Fiercely devoted to her country and the welfare of her people, Christina has long since abandoned all thoughts of pursuing any kind of a romance -- but changes her mind when she meets and falls in love with Spanish envoy Antonio (John Gilbert). After an idyllic night together, Christina and Antonio are compelled to part, but the Queen vows then and there to relinquish her throne in favor of marriage to the envoy. Alas, the complex political machinations between their two countries permanently separate the two lovers, leaving Christina more alone in the world than ever. The chemistry between Garbo and Gilbert -- who as the whole world knew in 1933 had once been real-life lovers -- is positively mesmerizing, especially in the classic scene wherein Christina, after consummating their passion, walks dreamily around their room, touching and memorizing every detail (so persuasive is her pantomime in this scene that her last-minute explanation as to what she is doing is not only unnecessary, but downright jarring). Equally unforgettable is the final shot of Garbo staring enigmatically past the camera, allowing the viewer to "fill in" her thoughts (director Rouben Mamoulian always claimed that he ordered Garbo to think about "absolutely nothing," but one wonders). While some of Garbo's earliest talkies tend to creak a bit, Queen Christina is as fascinating today as it was nearly seven decades ago, and will undoubtedly continue to remain just as fascinating for the next seven decades. ~ Hal Erickson, All Movie Guide

Ne'er-do-well Gary Cooper is so desperate for quick cash that he's willing to sell the custody rights of his own daughter (Shirley Temple), whom he's never seen. Cooper's girlfriend Carole Lombard is shocked by this callousness and walks out on him, but when Cooper meets his daughter and has a change of heart, he reclaims the little girl and is reunited with Lombard. Still, Cooper can't hold down a job. Another get-rich-quick scheme ends unhappily when Cooper is forced to participate in a jewel robbery. After fighting it out with his confederates, the wounded Cooper begs the victim of the robbery, a wealthy and loving woman, to adopt his daughter and give her the sort of life he is unable to provide. Now and Forever would have been mighty turgid stuff without the combined star power of Gary Cooper, Carole Lombard, and six-year-old Shirley Temple. ~ Hal Erickson, All Movie Guide

Legendary stage actress Pauline Lord made but a few films, but was always worth watching whenever she took command of the screen. In Feather in Her Hat, Lord plays cockney storekeeper Clarissa Phipps, who worries that her son Richard will grow up being ashamed of her humble vocation. Thus, she loftily pretends that she's not Richard's mother, and that the boy is actually the offspring of a prominent theatrical family. Upon reaching adulthood, Richard (Louis Hayward) becomes a prominent playwright, confident that the stage is in his blood, while Clarissa secretly sells her store at a loss to finance Richard's first production. Only on her deathbed does Clarissa reveal the truth -- and happily, Richard isn't ashamed of her in the least, and indeed is prouder of her than ever. Basil Rathbone contributes a fascinating characterization as a gin-swilling, unshaven remittance man. ~ Hal Erickson, All Movie Guide

Gary Cooper stars in this rousing adventure saga of three British officers of the 41st Regiment of Bengal Lancers of India. The story begins as Lt. McGregor (Gary Cooper) accepts two new officers to his company -- the brash Lt. Fortesque (Franchot Tone) and Lt. Stone (Richard Cromwell), the son of the garrison's commander, Col. Stone (Guy Standing). In an effort not to show favoritism, Stone's father barely acknowledges his son during a parade of the new officers. Lt. Stone resents this treatment by his father and becomes embittered at both his dad and the British army. McGregor is ordered to search for a British spy, Lt. Barrett (Colin Tapley), who has infiltrated the army of crazed chieftain Mohammed Khan (Douglas Dumbrille). The three officers find Barrett, who tells them Khan is planning an uprising against the British, utilizing the mountain tribes for a massive assault. Lt. Stone finds himself captured by the rebels and is taken to Mohammed Khan's mountain fortress to be tortured. Stone's father refuses to send in the lancers to save his son, reasoning that his son was captured to lure the British forces to their doom. Disguising themselves as Indian peddlers, McGregror and Fortesque go off to rescue Stone. But they are soon discovered and taken to Mohammed Khan's lair to be tortured, with Khan telling McGregor, "We have ways of making men talk." Mohammed wants the soldiers to tell him where a shipment of ammunition will be delivered. McGregor and Fortesque withstand the torture without divulging the location, but Lt. Stone cracks and tells Khan what he wants to know. The three officers see the ammunition delivered to Khan's fortress, but then they hear Col. Stone and 300 lancers have arrived outside of Khan's gates. ~ Paul Brenner, All Movie Guide

Of the many film versions of Alfred Lord Tennyson's narrative poem, 1936's Charge of the Light Brigade has the least relationship to the facts concerning the famous 19th century British military blunder in the Crimea. Reflecting the popularity of 1935's Lives of A Bengal Lancer, the film uses the climactic charge as the culmination of events which begin in British India. Errol Flynn and Patric Knowles are cast as cavalry officers who are also brothers; both love Olivia De Havilland, but it is Knowles who wins out (this should tip us off that the rest of the film is pure fantasy). Indian potentate C. Henry Gordon, angered that the British government has cut off his subsidy, stages a revolt against the English settlements. Ordered on maneuvers, Flynn is unable to bring rescue troops to the besieged fort commanded by De Havilland's father. Gordon supervises the slaughter of every man, woman and child at the fort, then leaves India in the company of his Russian advisors. Flynn and his fellow Light Brigade lancers are then transferred to the Crimea--where, as luck would have it, Gordon is now ensconced with the Russians. Thirsting for revenge, Flynn falsifies an official order so that he and the Light Brigade can battle Gordon and his allies at Balaclava (thus are Britons Lord Cardigan and Lord Ragan, the actual instigators of the doomed charge, exonerated). As passages from the Tennyson poem are superimposed on the action, Flynn leads a suicidal charge against the Russians; he manages to kill the treacherous Gordon before being slain himself. Its dozens of historical inaccuracies aside, The Charge of the Light Brigade is rousing entertainment. Animal lovers be warned, however: several horses were killed during the climactic charge, a fact that compelled Hollywood (under the auspices of the ASPCA) to install safer and more stringent standards concerning the treatment of animals. ~ Hal Erickson, All Movie Guide

Generally considered one of director Ernst Lubitsch's lesser works, Angel stars Marlene Dietrich as Maria, the neglected wife of Sir Frederick Barker (Herbert Marshall), a British diplomat who travels often and seems little concerned with his spouse. Maria has nearly reached her breaking point when she travels to Paris to visit her old friend Anna Dmitrivena (Laura Hope Crews), a Grand Duchess who also operates an exclusive bordello. While in Paris, Maria meets Anthony Halton (Melvyn Douglas), a visitor from America who seems quite taken with her. While Maria enjoys Anthony's attentions, she backs off and retreats to England. Shortly after her return, Maria and Frederick attend the races and she spots Anthony in the crowd. Maria is tempted to continue her romance with Anthony (who now realizes that she's married), while Frederick begins to wonder if his wife might be growing restless. ~ Mark Deming, All Movie Guide

This musical parody follows the exploits of American performers in Hungary. The story begins as a Yankee wrestling trainer becomes friends with a gringo singer who works in the same Budapest nightclub as a female ventriloquist. When the singer is dumped, the trainer offers to help him with his romantic life. The singer then gets involved with the ventriloquist who is married to a notorious swordsman who has successfully killed 40 men in duels. Trouble ensues. ~ Sandra Brennan, All Movie Guide

Set during World War I, Lancer Spy stars a young George Sanders as Michael Bruce, an officer in the British Navy who bears an uncanny resemblance to the recently-captured Baron Kurt von Rohbach (also Sanders). Rohbach is highly connected in the German aristocracy, and his capture has been kept quite secret. This allows Bruce to be drafted into service to impersonate the German officer, infiltrate the enemy at the top level, and send back information that can turn the tide in the war. Bruce does a remarkable job and fools just about everyone; only the head of the secret police Major Gruning (Peter Lorre) has his doubts, but he can hardly accuse someone of the Baron's standing on nothing more than suspicions. He therefore engages a comely nightclub singer Dolores Daria Sunnell (Dolores Del Rio) to seduce Bruce and find out if his suspicions are sound or baseless. Unfortunately for Gruning, the singer finds her heart genuinely stolen by the imposter. She discovers the truth, but refuses to out him. Meanwhile, Gruning has laid his hands on some evidence of his own, and he moves to capture Bruce. Having accomplished his mission, Bruce flees to Switzerland. Gruning captures Dolores instead and puts her to death for her betrayal. ~ Craig Butler, All Movie Guide

Better known today as the father of actors Bob Einstein and Albert Brooks, comedian Harry Einstein achieved radio fame in the 1930s as a tongue-tied Greek named Parkyakarkus. In Night Spot, Einstein/Parkyakarkus is given top billing as a gourmet gangster named Gasshouse, but the plotline is carried by Allan Lane as rookie policeman Pete Cooper. Going undercover, Pete tries to prove that a swank nightclub is the rendezvous spot for a gang of jewel thieves. Making life easier for our hero is nitery singer Marge Dexter (Joan Woodbury), who falls in love with the incognito cop. Since Paryakarkus is too lovable to be the villain of the piece, that responsibility is handled by mustachioed Bradley Page as chief crook Marty Davis. ~ Hal Erickson, All Movie Guide

Moss Hart and George S. Kaufman's whimsical Pulitzer Prize-winning Broadway play You Can't Take It With You was transformed into a paean to populism by director Frank Capra and screenwriter Robert Riskin. This is the story of the zany Sycamore household, presided over by Grandpa Vanderhof (Lionel Barrymore), a former businessman who has turned his back on commerce to enjoy life. At the Sycamores', everyone does just what he or she pleases. Penny Sycamore (Spring Byington), Grandpa's daughter, has become a novelist because someone delivered a typewriter to her home by mistake. Penny's husband makes firecrackers in his basement with the help of Mr. DePinna (Halliwell Hobbes), an iceman who showed up at the Sycamore doorstep one day and never left. Their daughter, Essie (Ann Miller), imagines that she's a prima ballerina, even though her dour teacher, Boris (Mischa Auer), assesses her work with, "Confidentially, it steenks!" Essie's husband, Ed (Dub Taylor), who'd rather play a xylophone than work, spends his free time selling Essie's candy, wrapping each package in paper from a used printing press that dispenses anarchistic slogans. The one normal member of the household is Alice Sycamore (Jean Arthur), in love with wealthy Tony Kirby (James Stewart).

Naturally, when the stuffy, aristocratic Kirbys come to the Sycamores' for dinner, the event is a disaster, capped with the arrest of everyone in the household. Hart and Kaufman's third act found the previously judgmental Kirby softening his attitude toward the freewheeling Sycamore clan, admitting that he's never had so much fun in his life. Screenwriter Riskin altered the focus of the play by throwing out the third act and concentrating upon Tony Kirby's father, Kirby Sr., who as played by Edward Arnold is transformed from a stock stuffed shirt into a ruthless, grasping tycoon, eager to buy up every house on the Sycamores' block to make room for a munitions plant. The film thus became the story of Kirby's regeneration at the hands of the carefree Sycamores. Enough of the play's screwball elements are retained to compensate for Riskin's speechifying and plot distortions (though the softening of one of the play's vital ingredients, Grandpa's refusal to pay his income tax, borders on the sacrilegious). You Can't Take It With You earned several Academy Awards, including Best Picture and Best Director (Capra's third Oscar). ~ Hal Erickson, All Movie Guide