John Rogers Movies

Legendary stage actress Pauline Lord made but a few films, but was always worth watching whenever she took command of the screen. In Feather in Her Hat, Lord plays cockney storekeeper Clarissa Phipps, who worries that her son Richard will grow up being ashamed of her humble vocation. Thus, she loftily pretends that she's not Richard's mother, and that the boy is actually the offspring of a prominent theatrical family. Upon reaching adulthood, Richard (Louis Hayward) becomes a prominent playwright, confident that the stage is in his blood, while Clarissa secretly sells her store at a loss to finance Richard's first production. Only on her deathbed does Clarissa reveal the truth -- and happily, Richard isn't ashamed of her in the least, and indeed is prouder of her than ever. Basil Rathbone contributes a fascinating characterization as a gin-swilling, unshaven remittance man. ~ Hal Erickson, All Movie Guide

This was the last in a string of spoofs that found the comedy duo tangling with various classic Universal Studios monsters. In this case, Slim (Bud Abbott) and Tubby (Lou Costello) play American detectives who cross wits with Dr. Henry Jekyll (Boris Karloff) in Edwardian-era London when they visit to compare techniques with their British counterparts. Meanwhile, Dr. Jekyll is conducting the usual lab experiments on animals before injecting himself with serum, transforming into the vicious Mr. Hyde and launching a killing spree against fellow doctors who scoffed at him. Slim and Tubby participate in the ensuing investigation, and havoc breaks out when Tubby himself is injected, with predictable results. Karloff lends gravity to the film, but by the time this one followed up earlier efforts like Abbott And Costello Meet Frankenstein and Abbott And Costello Meet The Mummy, the team had mostly exhausted the series' comic possibilities. ~ Don Kaye, All Movie Guide

Irving Cummings was a good choice to direct this third Charlie Chan feature, the first to use sound, as he had previously made the first all-talking picture of any kind, In Old Arizona (also 1929). Chan fans may be disappointed in this globe-trotting mystery, however, as the detective (played by Korean actor E.L. Park) only appears in a few scenes. The story begins with a murder in London and the prime suspect is Colonel John Beetham (Warner Baxter), who is hiding pretty heiress Eve Mannering (Lois Moran) from her evil, philandering husband Eric Durand (Philip Strange). The action goes from England to Persia to India and finally ends up in San Francisco, where Chan prevents the golddigging Durand -- whom Eve has left for good -- from killing Beetham. Gilbert Emery, who plays a dedicated Scotland Yard detective, was originally envisioned as a big matinee idol, but was eventually relegated to thankless roles such as the one he plays here. The film is more noteworthy for its introduction of Boris Karloff to sound features, in a small role as a servant from Sudan who mutters inscrutable nonsense about the whims of the desert. The 20th Century Fox series began with 1928's The Chinese Parrot, starring another Asian performer (Sojin) as Chan, before Swedish actor Warner Oland took over the role in Charlie Chan Carries On and The Black Camel (both 1931), playing the unflappable detective until his death in 1938. ~ Robert Firsching, All Movie Guide

In the second of Paramount's "Bulldog Drummond" thrillers, Hugh "Bulldog" Drummond (John Howard) is finally about to marry longtime fiancée Phyllis Clavering (Louise Campbell) when the girl is kidnapped. The hijackers, Mikhail Valdin (J. Carroll Naish) and his sister, Erena Soldanis (Helen Freeman), are wanted for the murder of an American millionaire, and Scotland Yard Inspector Neilson (John Barrymore) warns Bulldog that he may be next. But the intrepid hero pays no heed and is soon off on a dangerous journey that culminates at the Mere, a supposed haunted house. Bulldog Drummond Comes Back was based on H.C. "Sapper" McNeile's 1928 novel The Female of the Species, who, an opening credit warns, is "more deadly than the male." ~ Hans J. Wollstein, All Movie Guide

Warner Oland made his first appearance in the role of Earl Derr Biggers' sagacious, aphorism-spouting oriental detective Charlie Chan in the 1931 Fox production Charlie Chan Carries On. It all begins when Chan, on vacation from his job with the Honolulu police, tries to solve the murder of a wealthy American in a London hotel. The trail of clues leads Chan on a not-so-merry chase through Nice, San Remo, Hong Kong and Hawaii. The solution to the mystery lies in the words spoken by a temporarily blinded witness -- or at least that's what she seems to be. According to contemporary reviews, the film was enlivened by the dumb-blonde dialogue delivered by Marjorie White and by the bumbling villainy of Warren Hymer. Though Charlie Chan Carries On is no longer available, its quality can be adequately gauged by a viewing of its 1940 remake, Charlie Chan's Murder Cruise. ~ Hal Erickson, All Movie Guide

Honolulu detective Charlie Chan (Warner Oland) spends an eventful weekend at an English country estate in this fog-bound series entry. Young Neil Howard (Ray Milland) has been accused of murder, but family friend Geoffrey Howard (Alan Mowbray) expresses the hope that Chan will be able to locate the genuine killer. The weapons this time include a set of poison darts, while a series of cryptic notes provide vital clues to Chan and his Scotland Yard counterpart Sgt. Thacker (E.E. Clive), who insists upon calling the humble oriental sleuth "Mr. Chang" throughout the picture. Crucial to the plot's development is a fox hunt, predating a similar sequence in John Huston's The List of Adrian Messenger by nearly 30 years. At 79 minutes, Charlie Chan in London is the longest of Fox's Chan series -- unnecessarily so, since the identity of the "surprise killer" is obvious from reel one. ~ Hal Erickson, All Movie Guide

This first sound version of Robert Louis Stevenson's classic morality tale starred Fredric March as the kindly, philanthropic Dr. Jekyll, who makes the fatal mistake of delving into secrets that Man Should Never Know. Fascinated with the notion that within each man lurk impulses for both Good and Evil, Jekyll develops a drug to release the wickedness in himself. The result: the lecherous, lycanthropic Mr. Hyde (one has to keep reminding oneself that the handsome, soft-spoken March plays both roles; small wonder that he won the Academy Award). Jekyll is the honorable suitor of the virtuous Muriel Carew (Rose Hobart), while Hyde is the brutish pursuer of the sluttish "Champagne Ivy" Pearson (Miriam Hopkins, as sexy as she'd ever be in films). It isn't long before the kindly Jekyll is unable to control the wicked Hyde, with tragic results. Director Rouben Mamoulian could often seem like the Brian De Palma of his time, showing off like a first-year film student instead of telling a story. But Mamoulian's excesses work beautifully in Dr. Jekyll and Mr. Hyde, notably the dizzying first transformation scene (that heartbeat you hear on the soundtrack belongs to Mamoulian himself). Withdrawn from circulation when MGM refilmed the Stevenson novel in 1941, Dr. Jekyll and Mr. Hyde resurfaced in the early 1970s, albeit only in the heavily censored version prepared for the 1938 reissue. The current video version restores most of the missing scenes--including the famous opening reel, photographed from Jekyll's point of view with a subjective camera. ~ Hal Erickson, All Movie Guide

Robert Montgomery plays saxophone-playing boxer Joe Pendleton, who insists upon piloting his own plane, much to the consternation of his manager Max Corkle (James Gleason). Just before a championship bout, Joe's plane crashes. When he revives, he finds he has been whisked away to Heaven by the overanxious Messenger #7013. Checking with the man in charge, one Mr. Jordan (Claude Rains), Pendleton discovers that he isn't scheduled to die for another 50 years. Joe heads back to earth, only to learn to his chagrin that his body has been cremated. Mr. Jordan is obliged to find Joe a new body; the "candidate" is a business mogul named Farnsworth, who is in the process of being murdered in his bath by his wife (Rita Johnson) and her lover (John Emery). Joe takes over Farnsworth's body, astonishing the murderers by emerging from the bathroom, very much alive (while Joe still looks like Joe to himself and the audience, he looks like Farnsworth to everyone else). Still desirous of winning the upcoming championship, Joe begins to whip Farnsworth's body into shape, even hiring Max Corkle to manage him. It takes some doing, but Joe convinces Max that he is indeed Joe and not Farnsworth (their scenes together are priceless, far better seen than described). Meanwhile, Joe has fallen in love with Bette Logan (Evelyn Keyes), a woman whose father had been ruined by the real Farnsworth. For her sake, he pays back millions of dollars that the crooked Farnsworth had finagled out of his investors. This prompts Mrs. Farnsworth and her lover to kill "Farnsworth" again, and once more Joe Pendleton is without a body. How Mr. Jordan arranges for Joe to win the championship, expose the murderers and walk off arm and arm with Bette is a bit too complex to detail here. Here Comes Mr. Jordan is one of the most consistently clever romantic comedies of the 1940s, and richly deserving of the Oscars won by screenwriters Sidney Buchman, Seton I. Miller and Harry Segall. A sequel, Down to Earth, was filmed in 1947, with Roland Culver as Mr. Jordan; and in 1978, the original Jordan was remade by Warren Beatty as Heaven Can Wait. ~ Hal Erickson, All Movie Guide

This version of the Charlotte Bronte classic is the first to use sound. The story closely follows the book as it chronicles the romantic travails of a troubled orphan girl who grows up to be a governess in love with her employer who returns her affections. She has finally found happiness. Alas, her happiness is short-lived as she learns that her love has locked his crazy wife in a remote wing of the house. The distraught governess flees and gets engaged to a new man. Just before they marry, she learns that her true love's house has burned down, immolating his wife and leaving him nearly blind. Without hesitation she returns to him and romantic bliss ensues. ~ Sandra Brennan, All Movie Guide

Mae West butts heads with Victor McLaglen in Raoul Walsh's Klondike Annie, but the real victor was the Legion of Decency, whose censorship strictures transformed a saucy and spicy gumbo into something closer to chicken noodle soup. West plays Rose Carlton, the kept woman of Chan Lo (Harold Huber), who takes her from walking the streets to pacing the floors of her high rent apartment. Rose ends up killing Chan and beats it from San Francisco to the frozen north. She boards a ship where burly sea captain Bull Brackett (McLaglen) takes a shine to her; when he finds out she killed Chan, he blackmails her into coming up and seeing him sometime. Boarding the ship in Seattle is missionary Annie Alden (Helen Jerome Eddy), who dies on the way to Alaska. Rose assumes Annie's identity and, upon arrival in Alaska proceeds to preach the Good Book, saving sinners by unorthodox methods. Mountie Jack Forrest (Philip Reed) arrives in town searching for Chan's murderer and he falls in love with Rose, unaware that the woman he loves is the killer he seeks. ~ Paul Brenner, All Movie Guide

Not up to the classic 1935 presentation, this is still an excellent adaptation of Victor Hugo's epic novel. The familiar characters of Valjean and Javert and the agonies of injustice are all portrayed convincingly against a backdrop of 18th century France. ~ Tana Hobart, All Movie Guide

John Barrymore is the Long Lost Father in this lightweight seriocomedy. Barrymore is felicitously cast as Carl Bellairs, who is unexpectedly reunited with Lindsay Lane (Helen Chandler), the daughter he deserted years earlier. Not surprisingly, Lindsay wants nothing to do with her prodigal dad, even though both are employed by nightclub owner Tony Gelding (Alan Mowbray). Despite Lindsay's icy hostility, Bellairs rescues her when she is falsely accused of theft. The bittersweet ending is somehow appropriate to this impeccably tailored star vehicle. Scripted by Dwight Taylor, Long Lost Father is a rare foray into sophisticated comedy by King Kong director Ernest B. Schoesdack. ~ Hal Erickson, All Movie Guide

A hunter finds himself in a world of danger when he decides to stalk Adolf Hitler in this taut WWII thriller. Capt. Thorndike (Walter Pidgeon) is an expert big-game hunter from England. While hunting in Bavaria, he happens upon Hitler's Berchtesgaden estate and spots the Fuhrer; he has his rifle in tow, and he toys with the idea of firing at the dictator, even raising the unloaded weapon, putting Hitler in the crosshairs, and pulling the trigger to make the gun click. Unfortunately, this draws the attention of Maj. Quive-Smith (George Sanders), a Gestapo leader assigned to guard the Führer, who promptly apprehends Thorndike, drags him off and attempts to force him to sign a confession. When he refuses, he's brutally beaten and dumped into a hole in the woods, and must climb out and make his way to safety, by hiding as a stowaway on a Danish steamer. The poor fellow then runs afoul of the menacing Mr. Jones (John Carradine), who steals his passport and identity. By the time Thorndike returns to London, the hunter has become the hunted, with Gestapo agents combing the streets looking for the would-be assassin. Thorndike finds an unlikely ally in Jerry (Joan Bennett), a seamstress and sometimes streetwalker who takes him in and helps him hide from the German forces closing in around him. And meanwhile, he must still contend with teh nefarious doings of Mr. Jones Man Hunt was directed by Fritz Lang, the great German director who fled to Paris in 1933 rather than accept a commission from Joseph Goebbels to make Nazi propaganda films. He came to America the following year. ~ Mark Deming, All Movie Guide