Max Davidson Movies

Five of Laurel and Hardy's best features from the silent film era are compiled in this collection by Robert Youngson. Included are From Soup To Nuts, Wrong Again, The Finishing Touch, and iberty. On hand are legendary comic foils like James Findlayson and Edgar Kennedy, both masters of the "slow burn" when showing their disapproval. Watch for Margaret Dumont, famous for her characterization as the flustered dowager in many Marx Brothers films, in the pie-fight scene. ~ Dan Pavlides, All Movie Guide

Filmed independently in 1939, The Great Commandment finally attained released in 1942 via 20th Century-Fox. Set in 30 AD, the story concerns the burgeoning Christian movement, and its effects on young Judean scholar named Joel (John Beal). A hotheaded reactionary, Joel spearheads an uprising against the Romans, but his warlike impulses melt away under the influence of Jesus of Nazareth. Joel even "turns the other cheek" when dealing with the warrior who murdered his brother. Director Irving Pichel later helmed such inspirational church-basement fare as 1952's Martin Luther and 1954's Day of Triumph. ~ Hal Erickson, All Movie Guide

Though Ginger Rogers' starring vehicles always turned a profit for RKO Radio, many filmgoers thought of Rogers only in terms of "Fred Astaire's partner." Others considered her a delightful comedienne, but no great shakes as a dramatic actress. Thus it was both a personal and professional triumph when Ms. Rogers walked home with an Oscar for her performance in Kitty Foyle. Based on Christopher Morley's Story of an American Girl, the film, told in flashback, relates the progress of working-girl Kitty Foyle (Ginger Rogers) as she pursues her Cinderella dreams. While employed at a department store, Kitty is wooed by Dennis Morgan, scion of a wealthy Philadelphia family. She flirts with the notion of marrying Morgan for his money, but decides that he's a bit too weak-willed for her tastes. Kitty enters into a romance with poor-but-dedicated doctor James Craig, then does an about-face by accepting Morgan's proposal. She quickly runs afoul of Morgan's snobbish family, who are so tightly bound by centuries-old tradition that Kitty is moved to exclaim "You mean to say you let all those dead people tell you what do?" She walks out on Morgan, then discovers that she's pregnant. Even after the trauma of delivering a stillborn child, Kitty is too proud to go back to Morgan. When true-blue Craig comes back into her life, Kitty, repeating her favorite phrase "By Judas Priest!", decides to forego money for love. Though successful to the tune of an $860,000 profit in 1940, Kitty Foyle seems stilted and over-rehearsed when seen today, save for the refreshing spontaneity of Ginger Rogers' performance. The film's best scene is the opening montage of the American Woman's "progress" once she enters the workplace (an uncredited Heather Angel is the central character in this delightful pantomimic vignette). Featured in the cast of Kitty Foyle is director Sam Wood's daughter Katherine Stevens, better known as K.T. Stevens. ~ Hal Erickson, All Movie Guide

More burdened with leaden production numbers than plot, Rosalie took Sigmund Romberg and George Gershwin's 1928 Broadway hit, threw out most of the songs, including "How Long Has This Been Going On?," but retained the spindly story of the incognito Princess Rosalie of Romanza (Eleanor Powell), who falls head-over-heels in love with All-American Dick Thorpe (Nelson Eddy), although she finds him conceited at first. But Dick gallantly flies to Romanza where the crooning Charles Lindbergh lands in the middle of yet another comic opera revolution. Rosalie, of course, is engaged to someone else, but after a series of misadventures and a colossal closing number, the star-crossed lovers decide to settle down together in democratic America. Cole Porter was hired to write a new score and Eleanor Powell, Nelson Eddy, and newcomer Ilona Massey perform "I've Got a Strange New Rhythm in My Heart," "Why Should I Care?," "Spring Love is in the Air," "It's all Over but the Shouting," "Who Knows?," "To Love and Not to Love," and, most memorably, "In the Still of the Night." ~ Hans J. Wollstein, All Movie Guide

The rollicking music of Gilbert and Sullivan is featured in this musical. It tells the story of a dance hall girl with a love of money. She will spend it every chance she gets as long as it is not hers. Trouble ensues when she sponges off a bookie during a date. To get revenge, he becomes her manager and forces her to join a Gilbert and Sullivan troupe. Any money she makes is to be his. Songs include: "The Mikado," "Patience," "Pirates of Penzance," and "Ruddigore." ~ Sandra Brennan, All Movie Guide

Produced by low-budget company Supreme Pictures (which weren't), this middling B-western was saved somewhat by its personable star, the strapping former footballer Johnny Mack Brown. Mack plays Dan Doran, the rogue of the title, who rescues a pretty missionary, Tess (Phyllis Hume), from the ubiquitous runaway team. In town, Doran not only leaves the welfare of the girl to Stella, the saloon hostess (Lois January), but admits to having earlier robbed the stage. Sent up the river for 20 years, Dan makes the acquaintance of Jim Mitchell (George Ball), a fellow inmate, and the two make their escape together. Returning to the scene of the crime, Dan joins Jim's gang of stage robbers. The town's natty-looking banker, Lige Branscomb (Alden Chase aka Stephen Chase) is observed courting Tess, who now owns the Golden Nugget coffee shop. Dan, who is in reality an undercover G-man, has Stella rescue Tess from marrying the villainous Branscomb who, of course, is the secret leader of the gang of stage robbers. Leaving Tess to her coffee shop, Dan proposes to Stella, who accepts. Although already beginning to exhibit the middle-age spread that would mar his later appearances, Johnny Mack Brown once again proves that he was a better actor than most of his B- western rivals. The same cannot be said for Phyllis Hume, who plays the missionary girl with only one expression, bewilderment, and whose only film this seems to have been. Max Davidson, an old-fashioned "Dutch-style" comic who had been in films before Charles Chaplin and almost everyone else, appears briefly and for no apparent reason in order to perform a bit of timeworn shtick as a Jewish salesman. ~ Hans J. Wollstein, All Movie Guide

This comedy is last entry in the five-movie series "The Cohens and Kellys." In this episode, Sidney and Murray are competing tugboat captains. They fight over the ownership of the waterways. ~ Sandra Brennan, All Movie Guide

Although based on a story by William Colt McDonald, the creator of The Three Mesqueteers, this Tim McCoy effort from Columbia was a conventional Western at best. McCoy played Tim Madigan, a cowpoke coming to the aid of Jerry Norris (Alberta Vaughn), whose father (Murdock MacQuarrie) is in trouble with a gang of cattle rustlers. The leaders of the rustlers, Hugo Distang (Robert Ellis) and Bull Bagley (Richard Alexander), prove to be the very same villains Madigan was trailing. Aided by a new friend, Jughandle (Wallace MacDonald), Madigan manages to catch the rustlers red-handed. The bandits are carted off to jail and Jughandle proves to be an agent for the Cattlemen's Association. McCoy offered a competent and believable performance but this time the material was not quite up to his usual high standard. Future Three Stooges menace Vernon Dent appeared as an ill-fated bartender. ~ Hans J. Wollstein, All Movie Guide

Based on "Bride 66", a tone poem by composer Herbert Stothart, The Lottery Bride takes place in a distinctly Hollywoodized Norway. Ever on the lookout for extra cash, heroine Jenny Swanson (Jeanette MacDonald) coerces her sweetheart Chris Svenson (John Garrick) to participate with her in a three-day marathon race. When the exhausted couple fails to win first prize, Jenny enters herself in a "wife lottery." Though the lucky winner appears to be Chris's older brother, it is actually Chris himself -- but he isn't aware of it, having embarked on a dirigible expedition to the Yukon. Only after surviving a crash landing does Chris return home for a blissful reunion with Jenny. With a plot this silly, why did the producers bother to hire Joe E. Brown and ZaSu Pitts as comedy relief? ~ Hal Erickson, All Movie Guide

In this campus musical, the 1928 big game between USC and Stanford provides the impetus for music and mayhem. The story centers upon two USC teammates, Eddie and Biff, who share just about everything, even their girl friend, Babs. The trouble is, they don't know they are both dating Babs until just before the crucial game. Fortunately, the coach is there to mediate between the two angry men. He reminds them that women are not as important as winning the game. ~ Sandra Brennan, All Movie Guide

Mary Pickford stars as the "Miss Fix-it" for her eccentric family. Pickford's job at a dime-store keeps her postman dad (Lucien Littlefield), addlepated mom (Sunshine Hart) and loose-living sister (Carmelita Geraghty) from going under. She falls in love with handsome Charles "Buddy" Rogers, never dreaming that the boy is the son of store-owner Hobart Bosworth. The "meeting cute" scene between Pickford and Rogers has been so often excerpted in silent-movie compilations that it's possible many viewers have it memorized. Based on a story by Kathleen Norris, My Best Girl served to introduce Mary Pickford to future-husband Rogers (they were wed nearly a decade later). Lucien Littlefield, the "old codger" who plays Pickford's father, was in reality three years younger than Pickford! ~ Hal Erickson, All Movie Guide

Jewish comic Max Davidson stars in this Hal Roach farce that would most likely have been completely forgotten had not Stan Laurel, Oliver Hardy, and Charley Chase turned up in cameo appearances. Davidson, wife Lillian Elliott, and son Spec O'Donnell are attempting to sell their house, which is located right next door to an insane asylum inhabited by a group of would-be radio announcers (the Messieurs Laurel, Hardy, Chase and James Finlayson). At the end of their ropes, the Davidsons finally find a buyer willing to swap houses, "no questions asked." The proud little family takes possession of their new abode, the street number of which is 1313, but it proves to be a lemon of gargantuan proportion where everything is topsy-turvy. A housewarming party ends in a free-for-all that nearly wrecks the house, and, after surveying the damage, the Davidsons discover that the insane asylum has relocated as well -- to right next door. ~ Hans J. Wollstein, All Movie Guide