Elsa Lanchester Movies

Originally titled Passport to Destiny, RKO's Passport to Adventure manages to be both whimsical and melodramatic all at once. Elsa Lanchester stars as a Cockney charwoman who sneaks into wartime Berlin, fully intending to kill Adolf Hitler. Lanchester is convinced that a snake-eyed charm left to her by her late military-officer husband will protect her from harm-and, given the ease with which she obtains a domestic job in the Berlin chancellory by posing as a deaf-mute, who's to say that the charm doesn't work? Once the Nazis catch on to Lanchester's mission, she is rescued by German officer Gordon Oliver, who happens to be a member of the underground resistance. One of the best bits in Passport to Adventure occurs at the beginning, when Elsa Lanchester gazes reverently upon a photo of her dear departed husband-whom we immediately recognize as Lanchester's real-life hubby Charles Laughton. ~ Hal Erickson, All Movie Guide

Rascal, the Sterling North novel that has been a longtime fixture of Scholastic Magazine book clubs, was given Tiffany treatment by the Disney studios in 1969. Bill Mumy plays young Sterling North, whose Wisconsin childhood is enriched through his friendship with a stray raccoon. Though lacking the emotional depth of the novel, the film is distinguished by the lovingly detailed outdoor photography that has always been a Disney hallmark. Likewise a "regular" in the Disney canon are scenes of animals wreaking comic destruction and wild chase sequences, and Rascal does not flag when offering these. A favorite of the Saturday matinee circuit, Rascal has in recent years become a standard weekend TV offering whenever a sports event is rained out or otherwise delayed. ~ Hal Erickson, All Movie Guide

This period swashbuckler film is based on the adventure novel Benjamin Blake by Edison Marshall, who also wrote The Vikings (1958). When his brother dies, scheming Arthur Blake (George Sanders) kidnaps his own nephew, Benjamin (played as a youth by Roddy McDowall and as an adult by Tyrone Power). Arthur's purpose is to claim his brother's dukedom for himself. Put to work as a stable boy, Benjamin grows up and develops a crush on his own cousin Isabel (Frances Farmer). When Arthur discovers this, he mercilessly beats Benjamin, who runs away and sails to India on a cargo ship to make his fortune. In Polynesia, he and a friend, Caleb (John Carradine), jump ship and set up camp on a tropical island paradise. There, Benjamin and Caleb become rich mining pearls, while Benjamin falls in love with a native girl, Eve (Gene Tierney). Now that he has amassed wealth, however, Benjamin is determined to return to England and get his revenge on Uncle Arthur. ~ Karl Williams, All Movie Guide

In Preston Sturges' classic comedy of Depression-era America, filmmaker John L. Sullivan (Joel McCrea), fed up with directing profitable comedies like "Ants in Your Plants of 1939," is consumed with the desire to make a serious social statement in his upcoming film, "Oh Brother, Where Art Thou?" Unable to function in the rarefied atmosphere of Hollywood, Sullivan decides to hit the road, disguised as a tramp, and touch base with the "real" people of America. But Sullivan's studio transforms his odyssey into a publicity stunt, providing the would-be nomad with a luxury van, complete with butler (Robert Greig) and valet (Eric Blore). Advised by his servants that the poor resent having the rich intrude upon them, Sullivan escapes his retinue and continues his travels incognito. En route, he meets a down-and-out failed actress (Veronica Lake). Experiencing firsthand the scroungy existence of real-life hoboes, Sullivan returns to Hollywood full of bleeding-heart fervor. After first arranging for the girl's screen test, he heads for the railyards, intending to improve the lot of the local rail-riders and bindlestiffs by handing out ten thousand dollars in five-dollar bills. Instead, Sullivan is coldcocked by a tramp, who steals Sullivan's clothes and identification. When the tramp is run over by a speeding train, the world at large is convinced that the great John L. Sullivan is dead. Meanwhile, the dazed Sullivan, dressed like a bum with no identification on his person, is arrested and put to work on a brutal Southern chain gang. With its almost Shakespearean combination of uproarious comedy and grim tragedy, Sullivan's Travels is Sturges' masterpiece and one of the finest movies about movies ever made. ~ Hal Erickson, All Movie Guide

Murder abounds at a wax museum after the owner decides to sell it, and seemingly waxen figures come alive. By the way, are wax images normally supposed to breathe when being filmed? ~ Kristie Hassen, All Movie Guide

The infamous story of 19th century grave robbers Burke and Hare is given a new slant in this episode, told from the point-of-view of dimwitted Scottish laborer John McGregor (Andrew Duggan). In order to provide gin money for his sodden wife, Aggie (Elsa Lanchester), McGregor takes a job hauling what he thinks are boxes of tanbark to the Edinburgh Medical Academy. Eventually, McGregor figures out that those boxes actually contain the remains of those unfortunate souls who have been murdered by grave robbers Burke (Arthur Malet) and Hare (Michael Pate), who then sell the corpses for dissection purposes to a Dr. Knox (John Hoyt). Rather than summon the authorities, McGregor decides to use the grave robbers in a hastily improvised scheme to rid himself of his alcoholic spouse. ~ Hal Erickson, All Movie Guide

John Farrow's movie adaptation of Kenneth Fearing's The Big Clock, based on a screenplay by Jonathan Latimer (and produced by future James Bond screenwriter Richard Maibaum), is a near-perfect match for the book, telling in generally superb visual style a tale set against the backdrop of upscale 1940s New York and offering an early (but accurate) depiction of the modern media industry. Told in the back-to-front fashion typical of film noir, it opens with George Stroud (Ray Milland) trapped, his life in danger, his survival measured in the minute-by-minute movements of the huge central clock of the office building where he's hiding. In flashback we learn that Stroud works for media baron Earl Janoth (Charles Laughton), loosely based on Henry Luce, as the editor of Crimeways magazine. Janoth is a manipulative, self-centered megalomaniac with various obsessions, including clocks; among other manifestations of the latter fixation, the skyscraper housing his empire's headquarters has as one of its central features a huge clock that reads out the time around the world down to the second.

Twenty-four hours earlier, on the eve of a combined honeymoon/vacation with his wife, Georgia (Maureen O'Sullivan), that has been put off for seven years, Stroud was ordered by Janoth to cancel the trip in order to work on a special project, and he resigned. As the narrative picks up speed, in his depression, Stroud misses the train his wife is on and crosses paths with Pauline York (Rita Johnson), a former model for Janoth's Styleways magazine, who is also Janoth's very unhappy mistress, and the two commiserate by getting drunk together in a night on the town. While hurriedly leaving Pauline's apartment, he glimpses Janoth entering. Janoth and York quarrel, and the publisher kills her in a jealous rage, using a sundial that she and Stroud picked up the night before while wandering around in their revels. Janoth and his general manager, Steve Hagen (George Macready), contrive to pin the murder on the man that Janoth glimpsed leaving York's apartment, whom he thinks was named Jefferson Randolph -- the name Stroud was drunkenly bandying about the night before. He gets Stroud back to Crimeways to lead the magazine's investigators in hunting down "Jefferson Randolph," never realizing that this was Stroud. And Stroud has no choice but to return, desperately trying to gather evidence against Janoth and, in turn, prevent the clues gathered by the Crimeways staff from leading back to him. The two play this clever, disjointed game of cat-and-mouse, Janoth and Hagen planting evidence that will hang "Randolph" (and justify his being shot while trying to escape), while Stroud, knowing what they don't about how close the man they seek to destroy is, arranges to obscure those clues and, in a comical twist, sends the least capable reporters and investigators to follow up on the most substantial clues.

Janoth sometimes seems to be unraveling at the frustrating pace and lack of conclusion to the hunt, but Stroud can't escape the inevitable, or the moments of weakness caused by fear and his own guilt over his near-unfaithfulness to his wife or the inscrutable gaze of Janoth's mute bodyguard Bill Womack (Harry Morgan), a stone-cold killer dedicated to protecting his employer. The trail of proof and guilt winds ever tighter around both men, taking some odd twists courtesy of the eccentric artist (Elsa Lanchester) who has seen the suspect. Milland is perfect in the role of the hapless Stroud, and Laughton is brilliant as the vain, self-centered Janoth, but George Macready is equally good as Hagen, his smooth, upper-crust Waspy smarminess making one's skin crawl. Also worth noting is Harry Morgan's sinister, silent performance as Womack, and sharp-eyed viewers will also recognize such performers as Douglas Spencer, Noel Neill (especially memorable as a tart-tongued elevator operator), Margaret Field (Sally's mother), Ruth Roman, and Lane Chandler in small roles. Additionally, the Janoth Publications building where most of the action takes place is almost a cast member in itself, an art deco wonder, especially the room housing the clock mechanism and the lobby and vestibules, all loosely inspired by such structures as the Empire State Building and the real-life Daily News headquarters on East 42nd Street. This film was later remade as No Way Out. ~ Bruce Eder, All Movie Guide

This greatest of all Frankenstein movies begins during a raging thunderstorm. Warm and cozy inside their palatial villa, Lord Byron (Gavin Gordon), Percy Shelley (Douglas Walton), and Shelley's wife Mary (Elsa Lanchester) engage in morbidly sparkling conversation. The wicked Byron mockingly chastises Mary for frightening the literary world with her recent novel Frankenstein, but Mary insists that her horror tale preached a valuable moral, that man was not meant to dabble in the works of God. Moreover, Mary adds that her story did not end with the death of Frankenstein's monster, whereupon she tells the enthralled Byron and Shelley what happened next. Surviving the windmill fire that brought the original 1931 Frankenstein to a close, the Monster (Boris Karloff) quickly revives and goes on another rampage of death and destruction. Meanwhile, his ailing creator Henry Frankenstein (Colin Clive) discovers that his former mentor, the demented Doctor Praetorius (Ernst Thesiger), plans to create another life-sized monster -- this time a woman! After a wild and wooly "creation" sequence, the bandages are unwrapped, and the Bride of the Monster (Elsa Lanchester again) emerges. Alas, the Monster's tender efforts to connect with his new Mate are rewarded only by her revulsion and hoarse screams. "She hate me," he growls, "Just like others!" Wonderfully acted and directed, The Bride of Frankenstein is further enhanced by the vivid Franz Waxman musical score; even the film's occasional lapses in logic and continuity (it was trimmed from 90 to 75 minutes after the first preview) are oddly endearing. Director James Whale was memorably embodied by Ian McKellen in the Oscar-winning 1998 biopic Gods and Monsters. ~ Hal Erickson, All Movie Guide

Because of its misleadingly sensual title and the participation of screenwriter/director F. Hugh Herbert (author of the once-notorious "The Moon is Blue"), Girls of Pleasure Island was ballyhooed in 1953 as the ultimate in sex and sin. In truth, the film is an innocent, inconsequential WW II comedy, designed to showcase Paramount's crop of "new faces." Leo Genn plays Roger Halyard, a stiff-upper-lip British gentleman who lives on a South Pacific Island with his three nubile, naïve daughters, Violet (Joan Elan), Hester (Audrey Dalton) and Gloria (Dorothy Bromiley). Hoping to shelter the girls from the lascivious advances of the opposite sex, Halyard is thwarted when 1500 Marines arrive to transform the island into an aircraft landing base. Despite the best efforts of Halyard, his housekeeper Thelma (Elsa Lanchester),and marine colonel Reade (Phil Ober), romance blossoms between the three girls and a trio of handsome leathernecks (one of whom is a young Gene Barry). Top billing in Girls of Pleasure of Island is bestowed upon Don Taylor as Lieutenant Gilmartin, whose warm relationship with Hester Halyard (Dalton) carries most of the plotline. ~ 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

In this British comedy, a young actor begins impersonating a Navy officer's wife in order to make her lover jealous. Unfortunately, trouble ensues when her jewels disappear. ~ Sandra Brennan, All Movie Guide