David Manners Movies

R.C. Sherriff's forceful drama about men at war, a long running hit in London as well as New York, is brought to the screen in this film adaptation. Capt. Denis Stanhope (Colin Clive) is the commander of a military unit during World War I; constantly bombarded by enemy fire and hemmed in by his superiors, Stanhope no longer believes in the cause for which he fights, and is despondent over the thought he is sending young men to a pointless death. Depressed, Stanhope has turned to drink, and often squabbles with Lt. Osborne (Ian MacLaren), his second-in-command, as well as berating nd Lt. Raleigh (David Manners), whose sister is Stanhope's beloved. As his confidence begins to collapse, Stanhope believes he has lost the respect of his men, until he secretly obtains a letter Raleigh is writing to his sister. Journey's End was the first major success for director James Whale; he soon signed a deal to work in the United States, and he cast his Journey's End leading man, Colin Clive, in one of his first American projects, Frankenstein. ~ Mark Deming, All Movie Guide

The Truth About Youth is the third film version of Henry V. Esmond's play, When We Were Twenty-One. Richard Dane (David Manners) is turning twenty-one, and his guardian, Dick Carewe (Conway Tearle) has arranged a nice surprise party for him. Unfortunately, Richard (nicknamed "Imp") never shows up for the party, as he is celebrating in his own wild and free way. This includes visiting a nightclub where the seductive Kara (Myrna Loy) holds forth. Kara has a habit of toying with the affections of young men until she gets bored with them -- which is usually when their money runs out. Not knowing that Richard has no money, Kara quickly becomes involved with him. This does not sit well with Carewe, who hopes to arrange a marriage between his Richard and the sweet, simple Phyllis (Loretta Young), daughter of his housekeeper. Unbeknownst to Carewe, however, Phyllis is in love with him, despite the fact that he is much older than she. Matters become complicated when Richard marries Kara, only to be thrown out by her when she discovers his true financial status. Carewe continues his efforts to bring Richard and Phyllis together, but Phyllis finally makes her true feelings known, and she and Carewe finally get together. ~ Craig Butler, All Movie Guide

In this melodrama, two young people fall in love and desire to wed, but their union is opposed by their families. As a result, the two decide to make love out of wedlock and the girl gets pregnant. Not long afterward, her young lover is killed and she must raise her baby alone until a much older man begins to take an interest in her. Her family is all for the union and without enthusiasm, she agrees to marry him. She then bears a daughter and swears that her daughter will know true romance. Unfortunately, she is again opposed by her husband the religious fanatic who ends up sending the girl to China as a missionary. While abroad, she meets a handsome young man, and begins to fall in love. This is confusing for her until her dying mother sends her a telepathic message encouraging her to go ahead and fall in love. ~ Sandra Brennan, All Movie Guide

Originally titled Upper Underworld, The Ruling Voice stars Walter Huston as a powerful underworld chieftain who covers his crooked activities in a cloak of respectability. Cold-blooded in all business matters, Huston cares only for the welfare of his beloved daughter Loretta Young, whom he has been careful to shield from his criminal cohorts. When she learns the truth, Young angrily walks out of her father's life, a blow compounded when his "trusted" henchman Dudley Digges betrays him. In a last-ditch effort at redemption, Huston puts his own life on the line to rescue his daughter from her rival-gangster kidnappers. The final shot in The Ruling Voice is a gem, with the newspaper bearing the headline of Huston's downfall being used to wrap a dead fish. ~ Hal Erickson, All Movie Guide

Curiously reminiscent of Ernest Hemingway's Sun Also Rises, The Last Flight dramatizes the "Lost Generation" of the 1920s. Four Yankee army buddies (Richard Barthelmess, Johnny Mack Brown, David Manners and Elliot Nugent) are invalided out of service during World War One, victims of profound physical and emotional injuries. Disillusioned by their wartime experiences, the foursome head to Paris, there to spend their waking hours getting drunk. They meet an enigmatic young American woman named Nikki (Helen Chandler), a kindred spirit who becomes their constant companion. Because of their reluctance to invest their true emotions in anything, an unspoken agreement between the five lost souls precludes sex with Nikki, but this does not stop a mutual friend (Arthur Byron) from clumsily trying to seduce the girl. In search of excitement, Nikki and the boys head for Portugal, where on impulse one of the men jumps in the ring during a bullfight. He is mortally wounded, and when asked why he exposed himself to certain death, he replies "It seemed like a good idea at the time." Gradually the friends' ranks diminish due to misadventure and sudden death, until only Richard Barthelmess is left. He meets Nikki on a train bound for Lisbon, where the two melancholy expatriates finally declare their love for each other. ~ Hal Erickson, All Movie Guide

George Arliss is the millionaire of the title, a retired auto tycoon who's been ordered by his doctor to rest and avoid exercise. Arliss is shaken out of his sedentary existence by an insurance salesman who advises him to pick himself up and enjoy life. The old man heads to California, where he conceals his identity and goes to work for a service station. Given a new lease on life, the millionaire amuses himself by playing matchmaker with his own daughter (Evelyn Knapp) and the go-getting young service station manager (David Manners). Barely distinguishable from George Arliss' other non-historical vehicles, The Millionaire is given an added dimension by James Cagney, who shows up for three wonderful minutes as the friendly insurance agent. ~ Hal Erickson, All Movie Guide

In her first film under contract to Warner Bros., Kay Francis plays Lois Ames, a magazine editor whose husband Fred (Kenneth Thomson) is too busy with his polo friends to pay her much attention. But when her secretary (Charlotte Merriam) suddenly leaves, Lois hires handsome Tom Sheridan (David Manners), who has arrived to demonstrate a new rowing machine. Sharing work brings boss and employee closer together and they soon fall in love. Tom's dumbbell fiancée, Ruth (Una Merkel), does not take this development very well and threatens to tell Fred. But the latter is discovered making love to the uppity Ann Le Maire (Claire Dodd) and Lois is able to obtain a divorce. ~ Hans J. Wollstein, All Movie Guide

Homespun vaudeville monologist Chic Sale repeats his "old geezer" characterization in Warner Bros.' Stranger in Town. Sale is cast as Crickle, a tenacious small-town grocer who stubbornly resists the efforts of a monopolistic chain-store firm to purchase his establishment. The chain manager retaliates by cutting off Crickles' supply of produce, whereupon our hero's friends and neighbors save his business by supplying him with goods from their own farms. As a result, the Depression-plagued village suddenly gets back on its financial feet again. Evidently, Warners regarded Chic Sale as the studio's own Will Rogers, and as such his character spends an ample amount of screen time helping the romantic leads, played by David Manners and Ann Dvorak. ~ Hal Erickson, All Movie Guide

Katharine Hepburn made her auspicious film debut in the otherwise undistinguished A Bill of Divorcement. Based on a play by Clemence Dane, the film is set on the day that Hepburn's mother, Billie Burke, is to divorce her insane and long-institutionalized husband John Barrymore. But Barrymore escapes from the asylum and returns home, only vaguely aware of the passage of time (he was shell-shocked during WWI). His presence puts Burke in an uncomfortable spot, especially since she plans to wed Paul Cavanaugh. Pressured by her idiotically traditional family to renew her vows with her first husband, Burke is saved from a lifetime of misery by her spunky daughter Hepburn, who takes care of her child-like father. The film's attitude towards male-female relationships, not to mention its archaic approach to the problem of mental illness, make Bill of Divorcement a chore to sit through today. Its saving grace is the warm rapport between Katharine Hepburn and John Barrymore (contrary to Hollywood legend, they did not despise one another). Even given its dated quality, Bill of Divorcement is more palatable than its empty 1940 remake, which starred Maureen O'Hara and Adolphe Menjou. ~ Hal Erickson, All Movie Guide

The Mummy represented Boris Karloff's second horror starring role after his "overnight" success in Frankenstein. Brought back to life after nearly 3,700 years, Egyptian high priest Imhotep wreaks havoc upon the members of the British field exposition that disturbed his tomb (shades of the King Tut curse). While disguised as a contemporary Egyptologist, he falls in love with Zita Johann, whom he recognizes as the latest incarnation of a priestess who died nearly 40 centures earlier. Spiriting Zita away to the tomb, he relates the story of how he had dared to enter her ancestor's sacred burial crypt, hoping to restore her to life. Caught in the act, he was embalmed alive and his tongue was cut out for his act of sacrilege. Now that he has returned, he intends to slay Zita, so that they will be reunited for all time in the Hereafter. Despite its melodramatic trappings, The Mummy is essentially a love story, poetically related by ace cinematographer and first-time director Karl Freund. Jack Pierce's justly celebrated makeup skills offers us two Karloffs: the wizened Egyptologist and the flaking, rotting mummy, who though only seen for a few seconds remains in the memory long after the film's final image has faded. Best line: "It went for a little walk." The Mummy was followed by four stock footage-laden sequels, none of which approached the power and poignancy of the original. ~ Hal Erickson, All Movie Guide

The world of horse racing provides the backdrop for this episodic drama. Much of the story is set at the Luray Springs Hotel where the characters wait for the running of the Capitol Handicap. The main story focuses upon Colly Tannyer, a pretty young handicapper who must wrangle up $10,000 so she can bet on a special horse. He former lover, Cuff Billings, helps her out under the condition that if the horse loses, she must make love to him. She agrees, and unfortunately, her steed places third. Fortunately, Cuff is more honorable than she though and he ends up romancing her. ~ Sandra Brennan, All Movie Guide

Easily the best of Eddie Cantor's gargantuan musical comedies for producer Sam Goldwyn, Roman Scandals begins in the middle-America community of West Rome, where our hero Eddie (Cantor) is employed as a delivery boy. A self-styled authority of Ancient Roman history, Cantor bemoans the fact that the local shanty community is about to be wiped out by scheming politicians, certain that such an outrage could never have happened during Rome's Golden Days. After a blow on the head, Cantor wakes up in Imperial Rome, where he is sold on the slave auction block to good-natured tribune Josephus (David Manners). Cantor soon discovers that the evil emperor Valerius (Edward Arnold) is every bit a crook and grafter as the politicians in West Rome, and he intends to do something about it. He gets a job as food taster for Valerius -- a none-too-secure position, inasmuch as the emperor's wife Agrippa (Veree Teasdale) is constantly trying to poison her husband -- and does his best to smooth the path of romance for Josephus and recently captured princess Sylvia (Gloria Stuart). Cantor's well-intentioned interference earns him a session in the torture chamber, but he escapes and commandeers a chariot, setting the stage for a spectacular slapstick climax. On the verge of recapture, Cantor wakes to find himself in West Rome U.S.A. again, where he quickly foils the modern-day despots and brings about a happy ending for all his friends.

Co-written by George S. Kaufman, Robert E. Sherwood, George Oppenheimer and Arthur Sheekman (the soon-to-be husband of leading lady Gloria Stuart), Roman Scandals manages to get off a few clever satirical licks, but essentially it's a "lappy" lowbrow vehicle for Eddie Cantor, and in this it succeeds immensely. The Busby Berkeley-staged musical numbers, written by Harry Warren, Al Dubin and L. Wolfe Gilbert, must be seen to be believed: In "No More Love", Ruth Etting, playing the Emperor's cast-off mistress Olga, sings a plaintive torch song as dozens of enslaved Goldwyn Girls (including Lucille Ball and Barbara Pepper), wearing nothing but long, blonde wigs, are chained to a rotating pedestal; and in "Keep Young and Beautiful", these same maidens gleefully cavort around a Roman bathhouse in the near-altogether while Cantor, in blackface, hops about, rolls his eyes and claps his hands -- just before a jet of steam "shrinks" him, at which point he metamorphoses into midget Billy Barty! The quintessence of Depression-era escapism, Roman Scandals is must-see entertainment. ~ Hal Erickson, All Movie Guide