Mary Gordon Movies

Though it takes a few liberties with the Arthur Conan Doyle original -- not the least of which is turning Sherlock Holmes into the second lead -- The Hound of the Baskervilles ranks as one of the best screen versions of this oft-told tale. After learning the history of the Baskerville curse from the hirsute Dr. Mortimer (Lionel Atwill), Sherlock Holmes (Basil Rathbone) takes upon himself the responsibility of protecting sole heir Henry Baskerville (top-billed Richard Greene) from suffering the same fate as his ancestors: a horrible death at the fangs of the huge hound of Grimpen Moor. Unable to head to Baskerville mansion immediately, Holmes sends his colleague Dr. Watson (Nigel Bruce) to act as his surrogate. What Watson doesn't know is that Holmes, donning several clever disguises, is closely monitoring the activities of everyone in and around the estate. Meanwhile, young Henry falls in love with Beryl Stapleton (Wendy Barrie), sister of the effusively friendly John Stapleton (Morton Lowry). Holmes and Watson compare notes, a red herring character (John Carradine) is eliminated, Henry Baskerville is nearly torn to shreds by a huge hound, and the man behind the plot to kill Henry and claim the Baskerville riches for himself is revealed at the very last moment. The Hound of the Baskervilles "improves" upon the original with such embellishments as turning the villain's wife into his sister, and by interpolating a spooky séance sequence involving mystic Beryl Mercer. In other respects, it is doggedly (sorry!) faithful to Doyle, even allowing Holmes to bait the censor by asking Dr. Watson for "the needle" at fadeout time. A big hit in a year of big hits, The Hound of the Baskervilles firmly established Basil Rathbone and Nigel Bruce as moviedom's definitive Sherlock Holmes and Dr. Watson. ~ Hal Erickson, All Movie Guide

The Jones family goes to Tinseltown in this entry in the series. They go so Father can attend an American Legion meeting. While there, the daughter has a terrible screen test. Later the family visits a movie studio and chaos ensues. ~ Sandra Brennan, All Movie Guide

Pat O'Brien is his usual likably obnoxious self in the Warner Bros. newspaper yarn Off the Record. While trying to smash a numbers racket, star reporter Breezy Elliot (O'Brien) takes tough young numbers-runner Mickey Fallon (Bobby Jordan) under his wing. The kid gets a job as a copy boy, earning the enmity of one and all because of his inability to keep his fists to himself. Mickey redeems himself-and, by extension, Breezy-when he engineers the capture of his gangster brother Joe Fallon (Alan Baxter). The romantic angle is handled by Breezy's gal Friday Jane Morgan (Joan Blondell), who eventually agrees to marry the hero only if he adopts the troublesome Mickey as his son (gee, things were so much simpler in the movies!) ~ Hal Erickson, All Movie Guide

This Damon Runyon yarn features William Gargan and Ann Sothern as Brooklynites Joe and Ethel Turp. The Turps are up in arms when their faithful old mailman (Walter Brennan) is fired. Unable to get satisfaction on a municipal level, Joe and Ethel plead their mailman's case to the President himself--not Roosevelt, of course, but MGM's idea of a president, as played by Lewis "Judge Hardy" Stone. Joe Turp gilds the lily by giving the President some Brooklynese advice on how to deal with certain foreign dictators. Joe and Ethel Turp Call on The President is at its best in its flashback sequences, depicting the aged Walter Brennan as a handsome young man (with teeth!) ~ Hal Erickson, All Movie Guide

Directed by Lewis Milestone nine years after taking home the best director Academy Award for All Quiet on the Western Front, this backstage drama stars Pat O'Brien as Dan O'Farrell, a boozy Broadway producer who makes his way back to show-business after a long absence. As a young man, O'Farrell had a brilliant career as a playwright-actor-producer, but when his wife left him, he threw it all away and fell into seclusion. Years later, his estranged daughter Alyce (Olympe Bradne) locates him and inspires him to return to the Great White Way. With his eye on re-emerging as a smash hit with critics and the public alike, O'Farrell enlists the aid of two loyal friends and embarks on a full-fledged comeback. ~ Matthew Tobey, All Movie Guide

A remake of sorts of the 1935 western The Arizonian, this fine George O'Brien oater features Leon Ames as Sheriff Judd Cronan, a slick lawman running Mesa City as if he owns the place. When schoolmarm Virginia King (Virginia Vale) has had enough of both Cronan's capriciousness and his advances and decides to leave town, the sheriff arranges for his henchman Pete (Joe McGuinn) to commit a bit of kidnapping. Unhappily for Cronan and his cronies, Cliff Mason (O'Brien), a retired lawman, happens by and is easily persuaded to stick around and do something about the general lawlessness of the area. Cornered, the sheriff sends for Duke Allison (Henry Brandon), a hired killer. Marshal of Mesa City was the first of six westerns teaming George O'Brien with RKO starlet Virginia Vale, formerly Dorothy Howe and the winner of the "Gateway to Hollywood" radio contest. ~ Hans J. Wollstein, All Movie Guide

The exploits of female pilots are followed in this high-flying drama. These women are extremely competitive and will stop at nothing to win their cross-country races. The story centers on one such determined pilot who is forced to leave the race circuit after her plane crashes. To become re-airborne she convinces several people to sponsor her. One wealthy socialite refuses because she is a pilot too. The two women end up competing in the air and on the ground for the love of the same fellow. Because the heroine is so well liked by the other racers, they help her win. ~ Sandra Brennan, All Movie Guide

A model of precision and economy, the MGM "B" thriller Tell No Tales represented the feature-film directorial debut of former actor Leslie Fenton. Reportedly an expansion of a "Crime Does Not Pay" 2-reeler, the story follows editor Michael Cassidy (Melvyn Douglas) as he tries to save his newspaper from being shut down by corporate fat-cat Matt Cooper (Douglass Dumbrille). Hoping to track down the perpetrators of a recent kidnapping (and thereby obtaining an "exclusive"), Cassidy illegally gets hold of one of the bills used for the ransom, tracing the bill to all its previous owners. In the course of his odyssey, Cassidy stumbles into a wake for a murdered black boxer, a haunting sequence dominated by the powerhouse performance of Theresa Harris. He also learns that the much-hated Cooper was tenously connected to the ransom bill, though the identity of the actual miscreants aren't revealed until the last two reels. Louise Platt costars as Ellen Frazier, a harried witness to the kidnapping who winds up being taken "for a ride" along with the unconscious Cassidy. Also figuring prominently in the action is gambling boss Arno (Gene Lockhart) and his weakling brother Phil (Tom Collins), not to mention musical-comedy star Lorna Travers (Florence George), the main attraction at a Policeman's benefit show (another highlight). Showing up unbilled is one Jack Carlton, later known as Clayton Moore. Tell No Tales definitely deserves to be better known. ~ Hal Erickson, All Movie Guide

Childhood chums Rocky Sullivan (James Cagney) and Jerry Connelly (Pat O'Brien) grow up on opposite sides of the fence: Rocky matures into a prominent gangster, while Jerry becomes a priest, tending to the needs of his old tenement neighborhood. Rocky becomes a hero to a gang of teenaged boys (played by Dead End Kids Billy Halop, Leo Gorcey, Huntz Hall, Gabriel Dell, Bobby Jordan and Bernard Punsley). Father Jerry despairs at this, asking Rocky to lay off so he can keep the kids on the straight and narrow. Then Rocky's crooked business associates George Bancroft and Humphrey Bogart attempt to end Father Jerry's radio campaign against the rackets by killing the priest. Rocky (whose cynical outlook on life has been softened by his romance with true-blue Anne Sheridan) shoots them down and takes it on the lam. Arrested and convicted of murder, Rocky sits smugly on death row, fully intending to go to the chair with a smile on his face. A few moments before the execution, Father Jerry pleads with Rocky to "turn yellow" so that the tenement kids will despise his memory. ~ Hal Erickson, All Movie Guide

Dick Powell stars as a Brooklynite who becomes a cowboy in spite of himself. Drifting into a small western town, Powell takes the only job available as a ranch hand. He likes to sing in his spare time, which attracts the attention of talent scout Pat O'Brien. Before you can say Gene Autry, Powell is promoted into America's favorite singing cowboy--though he's hard pressed to prove his western skills when the plot situations demand it. Rather condescending in its attitude towards western stars (as non-western movies tended to be in the 1930s, 1940s and 1950s), Cowboy From Brooklyn was another step backward in the (temporarily) fading career of Dick Powell. The only good thing to come out of the film was the song "Ride, Tenderfoot, Ride", which became the leitmotif of many a Warner Bros. cartoon short. ~ Hal Erickson, All Movie Guide

Richard Thorpe's comedy Double Wedding (1937) marked the seventh screen pairing of William Powell and Myrna Loy, known for their popular appearances together in the Thin Man series. Powell is Charlie Lodge, a bohemian artist who lives in a trailer, camped in an auto parking space in a busy city. Lodge believes that work is meaningless - that life should be full of entertainment and relaxation and nothing else. Loy is Margit Agnew, a stylish dress-shop proprietor who constantly works herself into the ground. Margit has picked a suitable husband for her younger sister Irene (Florence Rice), a rather dull and ineffectual young man named Waldo Beaver (John Beal). While together, Irene and Waldo happen upon the improvident Lodge. Charlie subsequently encourages the girl to break free of the oppressive constraints of her fiance and sister, and to pursue her dreams of heading out to Hollywood and becoming an actress; Irene immediately fancies herself in love with Charlie. Loy intervenes by confronting Powell --and anyone who can't guess who's going to fall in love at this point should be drummed out of the theater. This amusing and affable by-the-numbers MGM comedy was based on a play by Ferenc Molnar. ~ Hal Erickson, All Movie Guide

Allegedly based on two factual works, Bouck White's The Book of Daniel Drew and Matthew Josephson's The Robber Barons, RKO's The Toast of New York is a largely fanciful account of the career of 1870s financier "Jubilee Jim" Fisk. As played by Edward Arnold in his usual "tycoon" mode, Fisk was a likable scoundrel who finagled his way into the upper rungs of Wall Street as much for fun as for profit. The film conveniently ignores Fisk's involvement with the infamous Tweed Ring, and skims over his complicity in 1869's "Black Friday," one of the most disastrous events in American economic history. We are also offered a sanitized version of Fisk's notorious mistress Josie Mansfield, who as played by Frances Farmer is an apple-cheeked lass who regards Fisk only as a loyal friend. Cary Grant is along for the ride as "Nick Boyd," a thinly disguised version of Fisk's actual partner in crime Ned Stokes. Too costly to post a profit, Toast of New York is nonetheless fine non-think entertainment, kept alive by a superb supporting cast ranging from Donald Meek as Daniel Drew and Clarence Kolb as Cornelius Vanderbilt to such bit players as Laurel & Hardy perennial James Finlayson, who plays the inventor of a self-tipping hat! ~ Hal Erickson, All Movie Guide