Reginald Le Borg Movies

What's a country to do when it is handily and thoroughly defeated in a World War? In the case of Italy, the solution was to build several films around that defeat as a sort of "cleansing exercise". One such film was a comedy, Come Persi la Guerra, which was released outside of Italy under the laughing-through-the-tears title How I Lost the War. The soldiers depicted herein by Macario, Carlo Campanini and Nando Bruno are buffoons, only a step or two above the village-idiot category. Most of the laughs are garnered by Macario, a popular Italian music-hall comedian whose film appearances were all too few. ~ Hal Erickson, All Movie Guide

When director Julien Duvivier's episodic, all-star drama Flesh and Fantasy proved a bit too long in previews, Universal decided to remove the film's opening segment, which dealt with the foredoomed romance between an escaped criminal and a blind girl. Because this segment was too good to waste, the studio hired screenwriter Roy Chanslor to come up with additional material and Reginald LeBorg to direct a few new scenes, so that the episode could be released as a separate feature film. The result was the 65-minute Destiny, a curious melange of the sublime and the banal. The Duvivier-directed footage stars Alan Curtis as fugitive-from-justice Cliff Banks, who hides from the authorities in the farmhouse owned by kindly Clem Broderick (Frank Craven). Clem's daughter Jane (Gloria Jean), blind from birth, "sees" only the good in the outwardly unsavory Cliff, so it isn't surprising that the two fall in love. This tender little episode was supposed to have ended tragically, but Universal insisted upon a few "framing" scenes, directed by LeBorg, wherein Cliff is shown to be innocent of the crimes for which he has been imprisoned, and which allowed Cliff and Jane a happy denouement The stylistic schism between the "old" and "new" scenes is glaringly obvious; still, what's left of the original Duvivier footage is terrific, with Alan Curtis and Gloria Jean offering the finest performances of their screen careers. ~ Hal Erickson, All Movie Guide

Nice guys don't always finish last as can be seen in this crime drama. The story begins as a perfectly nice fellow finds himself arrested for murder. The trouble is, the man cannot remember a thing about the night of the murder. Though he insists he is innocent, all the evidence tells a different story. He was found at the scene with a bloody knife in his hand. Fortunately, a policeman friend, believes him. He gets him out of jail and together, they begin looking for the real killer. They soon find that the set-up was perpetrated by his uncle who strongly disapproved of his dating his ward. The woman who died had been the uncle's lover who was blackmailing him. To get even with them all, the uncle drugged his nephew, killed his mistress and planted the knife upon his unconscious relative. In the end, the uncle is arrested and the nephew and his lover live a long and happy life together. ~ Sandra Brennan, All Movie Guide

Joe Palooka, Ham Fisher's famed comic-strip fighter, risks his life to clear the name of his manager in this series entry. In this episode, Palooka is blinded during a fight. Although surgery restores his vision, the doctors strongly caution him not to fight again for at least a year. Meanwhile Knobby Walsh, his manager, begins managing another heavyweight fighter who gets himself mixed up with gamblers. To save his manager's good name, Palooka disregards the doctors' advice and reenters the ring. ~ Sandra Brennan, All Movie Guide

The 62-minute GI Jane may well be the best of Lippert Studios' "pocket" musicals. TV producer Tim (Tom Neal) is in the midst of staging a special featuring WACS when he receives his induction notice. The shock of the news causes Tim to faint, whereupon he imagines he has been promoted to sergeant and shipped to an all-male desert radar command. Our hero then schemes to transfer the WAC officers to his post. In so doing, he falls in love with the titular "GI Jane" (Jean Porter) and runs afoul of tough-talking WAC lieutenant Adrian (Iris Adrian). Featured in the cast is future Mickey Mouse Club star Jimmy Dodd, performing two of his own compositions. Also on hand is famed Hitler imitator Robert (Bobby) Watson, here cast as a flustered Army colonel. ~ Hal Erickson, All Movie Guide

In this musical, a chorus of convicts conspires to get a paroled crooner chucked back in the clink. Songs include: "Time Will Tell," "Now And Always," "Round The Bend," and "How Lovely." ~ Sandra Brennan, All Movie Guide

Joe Palooka in Triple Cross, like its predecessors, was based on Ham Fisher's comic strip Joe Palooka. This time around, soft-hearted boxer Joe Palooka (Joe Kirkwood Jr.), his wife Ann (Cathy Downs) and his manager Knobby Walsh (James Gleason) are kidnapped by a trio of goofy escaped convicts. One of the crooks decides to cash in on Joe's ring prowess by ordering the pugilist to throw a fight, thereby allowing the baddies to collect a huge sum at the betting booth. A surefire indication that this isn't supposed to be taken seriously is the scene wherein the head kidnapper (John Emery) disguises himself as Ann's spinster aunt. Joe Palooka in Triple Cross hit the screens at the same time that the earliest Palooka films were beginning to sprout up on television. Ring announcer Jimmy Wallington makes a last-reel appearance as himself. ~ Hal Erickson, All Movie Guide

Joe Palooka, comic strip artist Ham Fisher's golden-hearted pugilist, heads South of the Border in The Counterpunch. Actually, Joe (Joe Kirkwood Jr.) goes no further than Monogram's cramped "ocean liner" standing set, but the audience doesn't really mind. The plot concerns a gang of counterfeiters, one of whom is murdered en route to Latin America. Everyone is a suspect, including Joe and his manager Knobby Walsh (played by comedian Leon Errol, who certainly deserves his top billing). When the treasury agent in charge of the case has trouble determining the culprit's identity, Joe uses his pugilistic prowess to solve the mystery. Elyse Knox, the real-life wife of football player Tom Harmon, is cast as Joe's sweetheart Ann Howe. ~ Hal Erickson, All Movie Guide

Joe Kirkwood Jr. once more plays Ham Fisher's comic-strip creation Joe Palooka. This time around, Joe's faithful girl Ann Howe is essayed by Lois Hall, while James Gleason replaces Leon Errol in the role of Joe's manager Knobby Walsh. The story gets under way when soft-hearted pugilist Palooka witnesses a gangland rubout. Joe is all for testifying, but the police can do nothing: the body has disappeared, and all evidence has been destroyed. Even so, Joe publicly identifies the killers, leading to any number of perilous situations. The climax borrows heavily from the 1944 thriller Murder My Sweet, with a doped-up Joe suffering hallucinations in the boxing ring. Joe's pal Humphrey Pennyworth is played by Robert Coogan, a little chubbier than he was when last we saw him in Joe Palooka Meets Humphrey. ~ Hal Erickson, All Movie Guide

A strong contender for the title of Universal's worst horror film of the 1940s, Jungle Woman continued the melodramatic exploits of "Ape-Woman" Paula Dupree (Acquanetta from Captive Wild Woman) including seemingly endless "flashback" footage. (Captive, of course, had itself "benefitted" from plenty of stock footage courtesy of the studio's 1933 Clyde Beatty film, The Big Cage.) Poor Dupree is found roaming an all-too familiar back lot jungle and is once again captured by a scientist (J. Carrol Naish), who proceeds to torment the girl to death. At his trial, Dr. Carl Fletcher is acquitted when he proves that the girl was not only more simian than human, but jealously stalked the good doctor's lovely daughter (Lois Collier). Fletcher is acquitted after an excursion to the morgue, where the body of Dupree has indeed transformed into that of an "Ape Woman." The film's odorous repute, even among the most ardent Z-movie apologists, stems mainly from its overuse of stock footage and some notoriously rotten acting. The studio's "Scream Queen," first-billed Evelyn Ankers, basically walked through her repeating role as Beth Mason and the film's only comedy relief was provided by the patently unfunny Edward M. Hyans, Jr., whose eventual demise thus came as a true relief. Worst of all, Irish-American character actor J. Carrol Naish, who was between Academy Award-nominated performances in Sahara (1943) and A Medal for Benny (1945), delivered perhaps the only bad performance of his long career as the not-so-mad doctor. Acquanetta (né Mildred Davenport), a former fashion model claiming to be the result of a liaison between an Arapaho princess and British royalty, was allowed to speak this time around, a fact which hasn't exactly enhanced the film's reputation either. Starlet Julie London was lucky; her small role as one of Lois Collier's friends landed on the cutting-room floor. The third and final installment in Universal's "Paula, the Ape Woman" trilogy, The Jungle Captive (1945), replaced Acquanetta (who had become a "goodwill ambassador" to South America for President Roosevelt) with 18-year-old starlet Vicky Lane. The series' strongest critic at the time, John T. McManus, actually took Universal to task for spreading "Nazi propaganda" through the work of legendary make-up artist Jack Pierce. "In Mein Kampf," McManus wrote, "Hitler calls the Negro a 'half-born ape.' Jungle Woman illustrates the point, changing a Hollywood glamor girl into an ape and vice versa with the Negro stage inserted right where Hitler says...Apparently it is to be an annual outrage unless somebody passes a law against propounding Nazi race theories in America." Still much debated today, Jungle Woman has a certain notoriety for modern audiences. ~ Hans J. Wollstein, All Movie Guide

In New Orleans during Mardi Gras, Bart (Jack Kelly) witnesses the murder (or more accurately, the execution) of a wine merchant named Agostino (Joe Garcio). But when he tries to report the crime, Bart is accused of being the murderer himself. It soon develops that the killing was ordered by the local branch of the sinister "Black Hand" (a 1960s TV code-word for the Mafia), whose minions are determined to shut Bart up permanently before he can persuade someone to believe in his innocence. This episode was cowritten by actor Leo Gordon, who'd appeared in previous Maverick installments in the recurring role of Big Mike McComb. ~ Hal Erickson, All Movie Guide

After several false starts, opera star Grace Moore became a motion picture success in the sublimely assembled One Night of Love. Moore opens the film by losing a radio talent contest in New York. She disconsolately heads to Europe, where the best job she can come up with is singing in a restaurant. Here she is discovered by brilliant voice-teacher Tulio Carminatti, who carefully nurtures Moore until she becomes the toast of the European opera world. The two fall in love, but jealousy nearly destroys them both. Happily, Moore recovers to the extent of making a triumphant return to the US as reigning diva of the Metropolitan Opera. One Night of Love represents Grace Moore's finest screen work. The film's musical manifest includes such operatic standards as Lucia di Lammermoor, Madame Butterfly and Carmen; the "contemporary" musical lineup was composed by such hands as Louis Silvers (who won an Oscar for his efforts), Victor Schertzinger (who also directed), and Gus Kahn. ~ Hal Erickson, All Movie Guide