Jo Swerling Movies

David Janssen is hardly perfect casting for the role of 1920s gambling king Arnold Rothstein (Rod Steiger or Gene Barry may have been better choices), but the sure-handed direction of Joseph Newman smooths over all the rough spots in this fanciful biopic. Set up in the gambling business by crooked politico Jack Carson, Rothstein cheats his partner Mickey Shaughnessy, cheats on his lovely wife Dianne Foster, and does his best to discredit his bitterest enemy, on-the-take police detective Dan O'Herlihy. When O'Herlihy engineers the death of Rothstein's pal Mickey Rooney, Rothstein pulls strings in the New York judicial system, assuring the conviction and execution of the rogue cop. As quickly as he rises to the top of the dung-heap, Rothstein falls with equal rapidity, and ends up riddled with mob bullets. Curiously, King of the Roaring Twenties bypasses Rothstein's involvement in the "Black Sox" baseball scandal of 1919, perhaps because too many participants in that debacle were still alive in 1960 (this incident would later be covered in toto in the 1988 film Eight Men Out, which co-starred Michael Lerner as Rothstein). While King of the Roaring Twenties ignores the facts, for the most part the film is to be treasured if for no other reason than the fact that director Newman managed to draw uncharacteristically subtle performances from Mickey Rooney and Jack Carson. ~ Hal Erickson, All Movie Guide

During the early days of East Indian independence in 1947, a native rebellion threatens a hotel full of Britishers, Europeans and Americans. Gunrunner Alan Ladd could care less about anything other than his own neck. Ladd runs up against the resistance of a pacifist Indian leader (Charles Boyer), who hopes to quell the factional disturbances. Falling in love with Deborah Kerr, blind daughter of missionary Cecil Kellaway, Ladd decides to forego mercenary involvement in India's internal affairs and to shepherd the stranded non-Indians to safety. Paramount was overproducing again in 1951, so Thunder in the East didn't go into release until 1953, at which time its story was outdated enough to result in utter indifference from the paying public. ~ Hal Erickson, All Movie Guide

This is director Frank Capra's classic bittersweet comedy/drama about George Bailey (James Stewart), the eternally-in-debt guiding force of a bank in the typical American small town of Bedford Falls. As the film opens, it's Christmas Eve, 1946, and George, who has long considered himself a failure, faces financial ruin and arrest and is seriously contemplating suicide. High above Bedford Falls, two celestial voices discuss Bailey's dilemma and decide to send down eternally bumbling angel Clarence Oddbody (Henry Travers), who after 200 years has yet to earn his wings, to help George out. But first, Clarence is given a crash course on George's life, and the multitude of selfless acts he has performed: rescuing his younger brother from drowning, losing the hearing in his left ear in the process; enduring a beating rather than allow a grieving druggist (H.B. Warner) to deliver poison by mistake to an ailing child; foregoing college and a long-planned trip to Europe to keep the Bailey Building and Loan from letting its Depression-era customers down; and, most important, preventing town despot Potter (Lionel Barrymore) from taking over Bedford Mills and reducing its inhabitants to penury. Along the way, George has married his childhood sweetheart Mary (Donna Reed), who has stuck by him through thick and thin. But even the love of Mary and his children are insufficient when George, faced with an $8000 shortage in his books, becomes a likely candidate for prison thanks to the vengeful Potter. Bitterly, George declares that he wishes that he had never been born, and Clarence, hoping to teach George a lesson, shows him how different life would have been had he in fact never been born. After a nightmarish odyssey through a George Bailey-less Bedford Falls (now a glorified slum called Potterville), wherein none of his friends or family recognize him, George is made to realize how many lives he has touched, and helped, through his existence; and, just as Clarence had planned, George awakens to the fact that, despite all its deprivations, he has truly had a wonderful life. Capra's first production through his newly-formed Liberty Films, It's a Wonderful Life lost money in its original run, when it was percieved as a fairly downbeat view of small-town life. Only after it lapsed into the public domain in 1973 and became a Christmastime TV perennial did it don the mantle of a holiday classic. ~ Hal Erickson, All Movie Guide

Manhattan working girl Jean Arthur bids goodbye to her three erstwhile suitors (Grant Withers, Hans Conried and Grady Sutton) to take a bus tour of the west. En route, she meets handsome rodeo-star John Wayne, whose bucking bronco hurls him directly into her lap. Stranded in a tank town with Wayne and his sidekick Charles Winninger, Arthur is introduced to the sort of frontier activities not covered by the tour books: gambling, boozing and brawling. Not surprisingly, Arthur wants to hightail it back to the East, but by now Wayne has fallen in love with her. Lady Takes a Chance was produced for RKO by Jean Arthur's then-husband, Frank Ross. ~ Hal Erickson, All Movie Guide

"It's box office poison," producer Samuel Goldwyn is said to have exclaimed when he heard the idea of filming the life story of fabled first baseman Lou Gehrig. "If people want baseball, they go to the ballpark!" The story begins before World War I, when young Lou Gehrig (played as a boy by Douglas Croft) begins dreaming of becoming a professional ballplayer. Lou's immigrant parents (Elsa Jansen and Ludwig Stossel) insist that the boy attend Columbia University to become an engineer. While in college, Lou (played as a man by Gary Cooper) becomes a star athlete, and, with the help of sports journalist Sam Blake (Walter Brennan), he is signed by the New York Yankees and joins their big-league lineup in 1925; real-life Yanks Babe Ruth, Bill Dickey, Bob Meusel and Mark Koenig play themselves. He also meets and falls in love with Eleanor Twitchell (Teresa Wright) (an event that actually happened in 1933) and earns the nickname "The Iron Man of Baseball" because he never misses a game. In 1939, Lou discovers that he has a fatal neurological disease called amytrophic lateral sclerosis (now known, of course, as "Lou Gehrig's Disease"). On July 4, 1939, an emotional Lou Gehrig, a scant two years away from death, bids farewell to 62,000 of his fans and friends at Yankee Stadium. Allowing that he might have been given a bad break, he concludes his speech with "Today, I consider myself the luckiest man on the face of the earth." Deftly weaving basic facts with yards and yards of fancy, screenwriters Jo Swerling and Herman J. Mankiewicz serve up one of the most entertaining and inspiring baseball biopics. A more accurate but less dramatic adaptation of the same story, A Love Affair: The Eleanor & Lou Gehrig Story, was produced for television in 1977. ~ Hal Erickson, All Movie Guide

Fred MacMurray is a breezy New York street photographer; Mary Martin is a small town girl hoping to make her fortune in the Big Apple. Fred and Mary meet, bicker, fall in love, fall out of love, fall in love again, and so it goes. The main story is occasionally leavened by subplots involving such indispensable supporting players as Lynne Overman, Akim Tamiroff, Cecil Kellaway, Eric Blore and Iris Adrian. Robert Preston is the second lead who loses Mary Martin to Fred MacMurray, though Preston and Martin would re-team on Broadway 25 years later in the musical I Do, I Do. Instantly capturing the audience's attention with a remarkable opening "single take" which establishes the personalities of several apartment dwellers, New York Town is a diverting and agreeable Paramount romantic comedy. ~ Hal Erickson, All Movie Guide

The town of Vinegaroon, TX, is the home to Judge Roy Bean (Walter Brennan), who calls himself "The Only Law West of the Pecos." Bean keeps a saloon, where he also conducts trials, using his office to get fat on fines and the seizure of property, and hanging most of those who get in his way, sometimes more than one a day. Cole Hardin (Gary Cooper) is a saddle-tramp brought in on a charge of stealing a horse belonging to Bean's chief stooge, Chickenfoot (Paul Hurst). Hardin's conviction by a jury made up of Bean's hangers-on (with the undertaker, played with low-key comic zeal by Charles Halton, waiting eagerly for the verdict and the hanging) seems certain, despite his contention that he bought the horse from another man, until Hardin recognizes the judge's obsession with the English actress Lily Langtry. Hardin feigns having seen, met, and known Miss Langtry intimately, and he cons the judge into delaying the death sentence until Hardin can send for a lock of the actress' hair that he supposedly has in El Paso -- that's long enough for the real horse thief (Tom Tyler) to show up and get killed.

By the time the dust settles, the judge, for all of his warped sense of justice and corrupt nature, finds himself genuinely liking Hardin as something of a kindred spirit, as bold and daring as he was in his youth, and feeling something like friendship for him. But Bean also tries to shoot Hardin when he decides to cast his lot with the homesteaders, led by Jane-Ellen Mathews (Doris Davenport) and her father, Caliphet (Fred Stone), who have been fighting for survival against Bean and his cattle-rancher allies every step of the way. Hardin tries to appeal to the better nature within the judge, and also saves him from an attempted lynching, but when that fails, and a corn crop is burned and Mr. Mathews killed, he sees no choice but to take action. He gets an arrest warrant sworn out and is deputized by the county sheriff. Taking Bean in his saloon or anywhere in his town (renamed Langtry by the judge, in honor of the actress) is impossible, but then it's announced that Lily Langtry will be appearing in Texas, a long day's ride away from Bean's stronghold. The judge, dressed in his full Civil War regalia and with his men in tow, rides to see the performance while Hardin gets ready to try and arrest him. The kind of climactic shoot-out that follows has been done to death in the decades since, but it was something new and revelatory in a Western in 1940, and still plays beautifully on a dramatic level, capturing in full the complexity of the relationship between these two antagonists. ~ Bruce Eder, All Movie Guide

James Stewart and Carole Lombard star in this comedy-drama about the struggles of a young married couple directed by John Cromwell. Stewart and Lombard play a recently married couple, Jane and John Mason. John works as an attorney for the law firm of skinflint Judge Doolittle (Charles Coburn). Doolittle calls John back to work immediately after the wedding ceremony, forcing the couple to abandon their honeymoon. But John is ready to do Doolittle's bidding, since he hopes to become a partner in the firm. Doolittle is openly disappointed at the marriage, hoping John would have instead married his daughter Eunice (Ruth Weston). Eunice eventually marries another lawyer in the firm, Carter (Donald Briggs). John and Jane try to make ends meet and invite Doolittle, Eunice, and Carter to dinner. The dinner turns into a disaster, climaxing with Doolittle informing John he has decided to make Carter a partner in the firm. Crushed, John and Jane work hard but to no avail, sinking deeper and deeper into debt. Jane has a baby, but when the child becomes seriously ill, the only way to save the baby is to have a special serum flown in through a blizzard from Salt Lake City. John needs $5000 to hire a pilot and get the medicine, and his only hope is to beg Judge Doolittle for the money. ~ Paul Brenner, All Movie Guide

Bing Crosby plays the melodic medico of the title. To help cover for his ailing policeman pal (Andy Devine), Crosby takes the policeman's latest assignment and becomes the bodyguard for a loopy but wealthy matron (Bea Lillie). Bing falls in love with the lady's niece (Mary Carlisle), expressing his ardor in song. When the older woman becomes the target of thieves, it's Bing to the rescue. Based on the O. Henry yarn "The Badge of Policeman O'Roon", Dr. Rhythm is a satisfactory Bing Crosby vehicle, with the legendary Bea Lillie permitted a few choice moments in a rare screen appearance. ~ Hal Erickson, All Movie Guide

Harry Richman was a major stage and radio star of the 1930s, but his overbearing personality never clicked in films. After bombing out in 1930's Puttin' on the Ritz, he tried again six years later in The Music Goes 'Round, with marginally better results. Richman plays Harry Wallace, headliner of a Broadway revue which is just about to open. Tired of the rehearsal grind, he runs off to the South, where he happens upon a third-rate showboat troupe. Susanna Courtney (Rochelle Hudson), daughter of showboat manager Hector Courtney (Walter Connolly), mistakes Harry for an unemployed actor and hires him as a dollar-a-day bit player. Amused by the troupe's ineptitude in presenting a "serious" Civil War drama, Harry arranges for Susanna and her fellow thespians to appear in his Broadway revue as a comedy act. But when Susanna finds out she and her father are being made to look like fools in front of the sophisticated New York audience, she upbraids the roaring crowd, punches Harry in the mouth, and storms offstage. All works out okay in the end when Harry contritely begs Susanna's forgiveness. A remake of the 1928 Frank Capra film The Matinee Idol, The Music Goes 'Round is memorable today only for its catchy title song. ~ Hal Erickson, All Movie Guide

Grace Moore and Victor Schertzinger, the star-director combination responsible for the marvelous One Night of Love (1934), came up with another tune-filled winner in Love Me Forever. Once again voluntarily shedding her "diva" image, Moore plays Margaret Howard, a once-glamorous socialite who's hit the skids. She is rescued from obscurity by Steve Corelli (Leo Carrillo), an opera-loving gambler. Lavishing his entire fortune on Margaret's climb to the top, Steve naturally expects her to fall in love with him out of gratitude, but she has set her sights on another man. As originally scripted, Steve was to have thoughtfully removed himself from the picture by being bumped by gangsters, but as the film now stands, he manages to win Margaret away from her present amour, radio tenor Michael Bartlett (playing himself). Musical highlights include brief excerpts from La Boheme, Rigoletto and Funiculi Funicula. Enthusiastically received by the critics, Love Me Forever proved equally successful with movie fans -- even those who'd never be caught dead attending one of Grace Moore's live operatic performances. ~ Hal Erickson, All Movie Guide

Promoted as a follow-up to Frank Capra's 1933 hit Lady for a Day, Lady by Choice resembles the earlier film only in its choice of leading lady. May Robson plays a drunken derelict who'd once been quite a heartbreaker. Her self-respect is restored when she is asked to pose as fan-dancer Carole Lombard's mother. Lombard is part of the deal only to gain publicity for herself, but Robson takes her assignment seriously, ordering Lombard to give up her tacky profession and use her talents for something more dignified. At first against her will, Lombard starts taking formal acting and singing lessons and begins gaining a reputation as a serious artist. Wealthy Roger Pryor, a family friend of Robson's, falls in love with Lombard, but she breaks off the relationship so that Pryor won't be disinherited. Robson takes a hand in things, forcing Pryor and Lombard together in a delightfully devious fashion. Lady By Choice proved that Columbia Pictures (and scriptwriter Jo Swerling) could turn out a perfectly respectable Frank Capra film without Frank Capra. ~ Hal Erickson, All Movie Guide

Columbia's Once to Every Woman was the first of A. J. Cronin's medical novels to be adapted for the screen. The drama of the piece hinges on the conflict between brilliant young surgeon Barclay (Ralph Bellamy) and crusty hospital head Dr. Selby (Walter Connolly). On another, less-crucial front, Barclay and playboy physician Preston (Walter Byron) vie for the attentions of pretty nurse Miss Farnshawe (Fay Wray). The story comes to a tension-laden climax as Barclay prepares for a delicate brain operation -- a revolutionary procedure which has been opposed by Dr. Selby throughout the picture. Once to Every Woman was scripted by frequent Frank Capra collaborator Jo Swerling. ~ Hal Erickson, All Movie Guide