Bernard Hyman

The Great Waltz was the first of two films bearing the same title which told the life story of Austrian "Waltz King" Johann Strauss. European singing sensation Fernard Gravet stars as Strauss, while MGM's two-time Oscar winner Luise Rainer is top-billed as Poldi Vogelhuber. Poldi is the wife of Strauss, but she is forced to sit and sulk as her husband carries on a lengthy affair with opera singer Milza Korjus (in her only American film). Husband and wife mend their differences shortly before being introduced to the court of Emperor Franz Josef. The scene everyone remembers is the one in which Gravet and Korjus improvise "The Tales of the Vienna Woods" while taking a buggy ride in the country. It's as corny as all get out, but never fails to earn applause when seen today. Dmitri Tiomkin was given the unenviable task of adapting the original Strauss tunes to conform with the concept of the film, while an uncredited Josef Von Sternberg assisted official director Julien Duvuvier in several crucial scenes. The 1972 The Great Waltz, which starred Horst Buchholtz, is generally conceded to be a disaster. ~ Hal Erickson, All Movie Guide

Conquest was released in England as Marie Waleska, the name of the real-life historical personage portrayed by Greta Garbo. The film begins in 1807, when Marie, a Polish countess, is dispatched by her country to meet with Emperor Napoleon Bonaparte (Charles Boyer). Marie has been encouraged to press for Polish independence by whatever means possible--and though no one comes out and says as much, it is understood that she will offer herself sexually to the promiscuous Napoleon. She dutifully becomes Bonaparte's mistress, bears his child, and--almost as an afterthought--falls in love with him. Thanks to the political chicanery of Talleyrand (Reginald Owen), Napoleon is obliged to marry Hapsburg princess Marie Louise, and Marie is cast aside, her usefulness at an end. Only after Napoleon has been exiled to Elba in 1815 is he reunited with Marie and their son (Scotty Beckett). Though it stands up pretty well today, Conquest was a flop in 1937, and the beginning of the end of Garbo's screen career. ~ Hal Erickson, All Movie Guide

Greta Garbo enjoyed one of her greatest triumphs in this glossy adaptation of Alexandre Dumas' oft-filmed romantic tragedy. Here, Garbo stars as Marguerite Gauthier, who is born into humble circumstances but in time becomes Dame aux Camille, one of the most glamorous courtesans in Paris. Camille is kept by the wealthy and powerful Baron de Varville (Henry Daniell), but after many years of earning a good living from her beauty without finding true love, Camille's heart is stolen by Armand (Robert Taylor), a handsome but slightly naive young man who doesn't know how she came by her fortune. Armand is just as attracted to Camille as she is to him, and she's prepared to give up the Baron and his stipend to be with Armand. However, Armand's father (Lionel Barrymore) begs Camille to turn away from his son, knowing her scandalous past could ruin his future. Realizing the painful wisdom of this, Camille rejects Armand, who continues to pursue her even as Camille contracts a potentially fatal case of tuberculosis. Remarkably, even though this was one of Garbo's greatest commercial and critical successes, she would make only three more films before her retirement in 1941; Camille, however, would be filmed several more times following this version (most memorably by elegant sexploitation auteur Radley Metzger in 1969's Camille 2000). ~ Mark Deming, All Movie Guide

For 20 years, Jeff Williams (Clark Gable) has been in love with his childhood playmate Mary Clay (Joan Crawford). Alas, Jeff has never said as much, thus Mary becomes engaged to another childhood friend, Dill Todd (Robert Montgomery). Returning from a trip to Spain for the purpose of proposing to Mary, Jeff is taken aback when he learns of the impending marriage. Stout fellow that he is, however, he agrees to act as Dill's best man. Comes the day of the wedding, and Dill leaves Mary at the altar to run off with his mistress Connie (Frances Drake). Jeff stays behind to console Mary -- yet he still doesn't tell her how much he loves her. Small wonder, then, that a chastened Dill is able to rekindle his romance with Mary and plan a second ceremony. Disillusioned, Jeff is about to return to Spain, when at the last minute, comedy-relief Charles Butterworth tells Mary what's up with Jeff. "Suddenly everything is clear!" says Mary -- 84 minutes after the MGM lion introduced Forsaking All Others. Its plot absurdities aside, this star vehicle is splendidly glossy entertainment. ~ Hal Erickson, All Movie Guide

In this western, a cowpoke from Wyoming rides into the big city to look for a wife. Instead he finds himself investigating the mysterious death of a man in the hotel room next to his. In the corpse's room, the cowpoke found a lost bracelet. He and the hotel phone operator use this clue to solve the mystery. Later he marries the operator and they return back to wild Wyoming. ~ Sandra Brennan, All Movie Guide

Originally titled Eadie was a Lady, this Jean Harlow vehicle was slated for release under the title Born to be Kissed, but the new Production Code vetoed this "suggestive" cognomen. After a brief and uncomfortable period as One Hundred Percent Pure, the film was finally shipped to theaters as The Girl From Missouri. Harlow plays Eadie, a sexy gold-digger who promises to remain chaste until she finds a wealthy husband. Travelling to New York in the company of her best friend Kitty (Patsy Kelly), Eadie manages to keep that promise, though for a while it looks as though she'll succumb to the charms of playboy T. R. Paige Jr. (Franchot Tone). Once Paige has proven that his intentions are basically honorable, Eadie must break down the resistance of T. R. Paige Sr. (Lionel Barrymore), who is dead-set against his son's romance and intends to frame the girl in a compromising position. She gets even with Paige Sr. by framing him, but there's still a couple of reels to go before the happy ending. Except for some provocative costuming, Jean Harlow's character is essentially decent, thereby "cleansing" some of the more risque elements of this enjoyable romantic comedy. The film's best line is delivered by Patsy Kelly who, when propositioned by an elderly roue, snarls "Look at this! Death takes a holiday!" ~ Hal Erickson, All Movie Guide

Most Tarzan enthusiasts consider 1934's Tarzan and His Mate to be the best of the Johnny Weissmuller-Maureen O'Sullivan Tarzan efforts. Certainly it is the sexiest, with Weissmuller and especially O'Sullivan wearing next to nothing for most of the film's running time. Picking up where 1932's Tarzan the Ape Man left off, the film's plot is set in motion by avaricious ivory hunter Paul Cavanaugh, who arrives in the African jungle in search of the fabled Elephant's Graveyard. Accompanying Cavanaugh is Neil Hamilton the former fiance of Jane Porter (Maureen O'Sullivan), who for the past two years has been living with jungle lord Tarzan (Johnny Weissmuller) without benefit of clergy (this is strictly a pre-code effort, as evidenced by Jane's bikini-like attire and the now-famous skinny-dipping sequence). Jane briefly entertains notions of returning to civilization, but opts for her blissful outdoor existence with Tarzan. The plot rears its ugly head again when Cavanaugh shoots Tarzan and leaves him for dead, the better to seek out the precious ivory unimpeded. Rescued by his simian friends, Tarzan races towards the elephant's burial site, where Cavanaugh and Hamilton have been eaten by lions and Jane is next on the menu. A convenient elephant stampede--heralded by that classic Tarzan ahh-ee-yahhhh-ee-yahhhh--saves Jane from the lion's fangs in the nick of time. Tarzan and His Mate was the last of MGM's "Tarzan" series to be targeted for a strictly adult audience: the remaining MGM Tarzans, made under stricter censorship guidelines, were geared for the whole family. ~ Hal Erickson, All Movie Guide

It's hard to separate fact and fancy from the many accounts of what happened on the set when all three of the fabulous Barrymores -- Ethel, John and Lionel -- appeared together for the only time in Rasputin and the Empress. As for the end result, John offers the subtlest (!) performance as Russian Prince Paul Chegodieff; Lionel throws all caution to the four winds in the role of "Mad Monk" Rasputin; and Ethel comes off as rather artificial as Empress Alexandra (Ethel was more appealing in her character roles of the 1940s and 1950s). The plot covers the years 1913 through 1918, during the tumultuous final years of the Romanov regime in Russia. When young Prince Alexis (Tad Alexander), a hemophiliac, hovers near death after an accident, the royal physicians regretfully predict an imminent demise. At the advice of Prince Paul's impressionable sweetheart Natasha (Diana Wynyard), Alexandra and her husband, Czar Nikolai (Ralph Morgan), call in the mysterious Rasputin to look after Alexis. Using hypnosis, Rasputin is able to "cure" the boy-and to slowly gain control over the royal family. Prince Paul, concerned that Rasputin's despotic misuse of his new-found authority will cause the people to revolt, does his best to discredit the oily holy man, but to no avail. When Natasha is raped by Rasputin, Paul attempts to shoot the miscreant down. But Rasputin, who has taken the precaution of wearing a bullet proof vest, is not so easily killed off. In a last, desperate measure, Paul and his cohorts try to poison Rasputin to death-and even this doesn't work. Only a climactic fight to the death puts an end to Rasputin's reign. Alas, the damage has already been done, and the royal family is doomed to be toppled from power...and, ultimately, to be shot down like dogs by the Bolsheviks. Perhaps it's true that the three Barrymores spent more time trying to upstage one another than concentrating on the script at hand, but we wouldn't have it any other way. When seen today, Rasputin and the Empress seems rather choppy in spots, with isolated lines of dialogue and sometimes whole scenes completely missing. This is due to a million-dollar lawsuit brought against MGM by Prince Yusupov, the man who really engineered Rasputin's assassination. The Prince wasn't offended by being depicted as a murderer, but he was distressed when MGM suggested that his wife had been raped by Rasputin. As a result, Rasputin and the Empress was withdrawn from distribution, and all prints were later bowdlerized when released to television. Also as a result, all future Hollywood films were obliged to carry the "Any resemblance to actual persons, living or dead, is purely coincidental" disclaimer. ~ Hal Erickson, All Movie Guide