Helen Taylor Movies

This comedy was inspired by the true story of Cynthia Payne, a former waitress who gained fame as England's best-known (and best-liked) madame. Christine Painter (Julie Walters) is a working-class single mother who sub-leases a few inexpensive flats as a way of bringing in extra money. Christine has no particular interest in selling her body, but when she finds herself in a tight spot financially -- and notices that the prostitutes who rent her apartments are the only ones who consistently pay on time -- she decides to open a brothel. With the help of Shirley (Shirley Stelfox), an experienced prostie, and Morton (Alec McCowen), a former RAF commander with a fondness for women's undergarments, Christine opens a little place where elderly businessmen can indulge their fondness for kinky lingerie and being spanked by younger women. Soon Christine's business is booming and everyone is happy -- until the police pay her a visit. Personal Services was directed by Terry Jones, best known as a member of the Monty Python troupe; the real-life Cynthia Payne served as a technical advisor. ~ Mark Deming, All Movie Guide

Though not the best of the Fred Astaire musicals, Second Chorus is the most easily accessible thanks to its current public-domain status. Astaire and Burgess Meredith play Danny O'Neill and Hank Taylor, friendly-enemy musicians who after spending seven years in a college band aspire to join the Artie Shaw Orchestra. Danny and Hank also spend a lot of time vying over the attentions of their pretty manager Ellen Miller (Paulette Goddard). While Paulette Goddard later became Mrs. Burgess Meredith in real life, guess who wins her hand in this picture? Charles Butterworth steals the show as Mr. Chisholm, a music-loving eccentric who finances Shaw's "swing concerto" concert at Carnegie Hall. Oh, and Fred Astaire dances, too. ~ Hal Erickson, All Movie Guide

Bookish bank employee Atterbury Dodd (Leslie Howard) is ordered to investigate the near-bankrupt Colossal Studios in Hollywood, to see if the firm is any sort of good risk. Dodd's first brush with Tinseltown's cuckoo atmosphere occurs when he takes a room in a boarding house for extras, where all manner of eccentrics wander about as they wait for the phone to ring (Charles Middleton comports himself in an Abe Lincoln costume, on the off-chance that Hollywood will go back to making Civil War pictures soon). He befriends Lester Plum (Joan Blondell), a former child star now working as a stand-in for haughty movie queen Thelma Cheri (Marla Shelton), and perpetually soused producer Douglas Quintain (Humphrey Bogart). Aware that the latest epic of autocratic director Koslofski (Alan Mowbray) will ruin the studio, Howard investigates further, discovering that a rival company has bribed Koslofski to pad the budget and thus bring about the foreclosure of Colossal. While his business sense tells him that this is the next logical move, Dodd has fallen in love with Plum; thus, he gives Quintain 48 hours to re-edit Koslofski's fiasco into something workable, and himself staves off the studio's shutdown by rallying all the Colossal employees to stand firm against being removed from the premises. Based on a Saturday Evening Post story by Clarence Buddington Kelland, this is a light-hearted satire of the movie industry, the sort of amiable farce in which everyone--even the most contentious of characters--is shown to be basically decent underneath. ~ Hal Erickson, All Movie Guide

Archetypal depression-era stars Henry Fonda and Sylvia Sidney are felicitously teamed in Fritz Lang's You Only Live Once. Fonda plays an ex-convict who can't get a break on the "outside". He marries Sidney, who like her husband is one of life's losers. Framed on a murder rap, Fonda is forced to take it on the lam, with his wife and baby in tow. In trying to avoid capture, Fonda becomes a murderer for real, condemning himself and Sidney to an early demise. Partly based on the legend of Bonnie and Clyde, the Gene Towne-Graham Baker screenplay stacks the deck against its protagonists to such an extent that the audience is virtually forced to hate their various antagonists. As superb as Henry Fonda is in portraying the foredoomed hero, Sylvia Sidney is even better as his wife; her reading of such lines as "We just call him...baby" are enough to shrivel the heart even after six decades. ~ Hal Erickson, All Movie Guide

Just before his brief turn as a "singing cowboy," radio crooner Smith Ballew starred in Paramount's Palm Springs. Filmed on location at the famed California resort community, the story concerns the efforts by near-bankrupt gambler Capt Smyth (Sir Guy Standing) to marry off his daughter Joan (Frances Langford) to wealthy Englishman George Brittel (David Niven). Unfortunately for Smyth, Joan falls in love with Slim (Ballew), who hails from Wyoming and apparently hasn't got a dime. The film can't seem to make up its mind to be a straight comedy or a musical, nor does it seem that anyone concerned cared all that much about the plot. The songs are by Ralph Rainger and Leo Robin, who evidently saved their best stuff for Bing Crosby. ~ Hal Erickson, All Movie Guide

Spendthrift gives the modern viewer a pretty good idea how Hollywood planned to "mold" the image of new star Henry Fonda. The Lanky One is cast as a profligate, polo-playing playboy, married to a beautiful but superficial heiress (Mary Brian). They divorce, and the wife gets all the money. But the humbled (and impoverished) Fonda finds true love in the arms of Pat Paterson, who cares nothing for material things. So obscure is this screwball comedy that, when Henry Fonda passed away in 1982 and newspapers printed the list of his films, some people thought that Spendthrift was the working title for a more famous film--or that it had never really been filmed at all! ~ Hal Erickson, All Movie Guide

Alice Faye, Frances Langford, and Patsy Kelly play three humble factory workers (with a Hollywoodized wardrobe beyond the budget of any genuine factory girl) who occasionally sing together for the fun of it. They harbor dreams of becoming famous, but the prospect isn't likely until bandleader George Raft hears the girls harmonizing. He promotes the girls into top radio stars, while each of the girls entertains romantic thoughts about Raft. (And yes, he does win one of them romantically, at the end of the picture). The likable but unimportant Every Night at Eight sparked a minor controversy in the rarefied world of 1960s film criticism. "Auteur" theorist Andrew Sarris pointed out a brief scene in which star George Raft awakens from a nightmare, cited other such scenes in the work of director Raoul Walsh, and used this "evidence" to support his theory that Walsh was a true auteur who left his "signature" on each of his films. Anti-auterist Pauline Kael spoke for many when she advised Sarris to go fly a kite. ~ Hal Erickson, All Movie Guide