Harvey Thew Movies

Confessions of a Vice Baron was one of those independent exploitation films of the 1930s: promising much, delivering little. Willy Castello stars as the head of a vice ring, consisting of conservatively dressed B-girls and wild-eyed marijuana and cocaine freaks. Setting this apart from other schlock of its ilk is that Castello is a genuine gangster, albeit "reformed." As for the film's quality...well, it isn't quite as subtle as Reefer Madness. Filmed in 1937, Confessions of a Vice Baron didn't make the rounds until the early 1940s. ~ Hal Erickson, All Movie Guide

Paramount's first outdoor Technicolor feature, Trail of the Lonesome Pine was the third film version of John Fox Jr.'s novel. Inspired by the Hatfield-McCoy feud, the story is set in the Blue Ridge mountains of Virginia. Outsider Fred MacMurray arrives to clear the path for a new railroad. Mountain girl Sylvia Sidney falls in love with MacMurray, which incurs the enmity of Sidney's boyfriend Henry Fonda. It also plunks MacMurray in the middle of a long-standing feud between Sidney's family and another mountain clan. Hostilities alternately erupt and simmer until Sidney's youngest brother (Spanky McFarland) is killed by a feud-inspired dynamite blast. This tragic incident brings virtually everyone to their senses, and the feud is finally buried. Better in its individual setpieces than as a unified whole, Trail of the Lonesome Pine is still a worthwhile experience, especially when a pristine three-strip Technicolor print is available. ~ Hal Erickson, All Movie Guide

Harry Beaumont, a director-composer most closely associated with MGM's musical product, does a nice job handling the tongue-in-cheek melodramatics of Murder in the Private Car. Charlie Ruggles goes through his standard drunken-detective act as amateur gumshoe Scott, who stumbles onto a dead body when he wanders into the wrong train car. Despite the fact that the private car can only be locked from the inside, several more murders occur within its walls. This means plenty of trouble for heroine Ruth (Mary Carlisle), who'd rented the car for a cross-country journey of vital importance. Before this particular odyssey is over and the murderer is revealed, the private car, with Ruth trapped inside, is separated from the rest of the train and sent hurtling backward down the tracks, loaded with dynamite! Perhaps Harry Beaumont missed his calling: judging by Murder in the Private Car, he should have specialized in serials. ~ Hal Erickson, All Movie Guide

Having previously played dishonest politicians, lawyers, and businessmen, Warren William is cast as a fraudulent doctor in Warner Bros.' Bedside. Riding on the crest of a publicity wave, Dr. Louis (William) is able to move in the finest social circles with impunity. Only when he is unable to provide proper medical care for his own sweetheart Caroline (Jean Muir) does the truth come out: William "earned" his diploma by providing illegal drugs to a dope-fiend doctor (David Landau). Eventually, our "hero" comes to realize the gravity of his lies and rather belatedly vows to redeem himself. Reviewers in 1934 noted that the screenwriters worked so hard to make Warren William's character a heel that his last-minute reformation was thoroughly unconvincing; more to the point, William is more fun to watch when he's a louse. ~ Hal Erickson, All Movie Guide

This atmospheric suspense film from the makers of White Zombie marked an unusual turn for glamorous Carole Lombard as heiress Roma Courtenay, who is approached by phony psychic Paul Bavian (Alan Dinehart), who claims to bear an important message from her recently deceased brother. After attending a bogus seance, Roma suddenly becomes possessed by the malevolent spirit of executed triple-murderess Ruth Rogen (Vivienne Osborne), whose unfinished business includes killing Bavian, her one-time lover. Fearing that Roma is actually under the charlatan's control, her fiancé (Randolph Crane Scott) sets out to rescue her -- and eventually discovers that the supernatural influence is quite real. Though too subdued to generate real suspense, this atmospheric film benefits from the visual style of director Victor Halperin. ~ Cavett Binion, All Movie Guide

"I'm the finest woman who walked the streets," declares bejeweled, hip-swishing Lady Lou (Mae West) at the beginning of She Done Him Wrong. Lou works as a singer at the Gay Nineties saloon of Gus Jordan (Noah Beery Sr.), who plies her with diamonds to keep her by his side. She runs afoul of stalwart mission captain Cummings (Cary Grant), who warns her that she's on the road to perdition. Mae West's first starring film, She Done Him Wrong literally saved Paramount Pictures from bankruptcy. It would remain the best of her feature films, most of which were severely watered down by the Production Code (whose renewed stringency of 1933 was brought about in great part by West herself). She Done Him Wrong was based on West's own stage play, Diamond Lil, which ran on Broadway for 97 weeks. West sings "Frankie and Johnny," "I Like a Man Who Takes His Time," and ""I Wonder Where My Easy Rider's Gone."" ~ Hal Erickson, All Movie Guide

About to die in the electric chair, John Allen (Edward G. Robinson) uses the last two seconds of his life to recall the events leading up to his present predicament. A $62.50-per-week riveter ("That's more than most college professors make!"), Allen gets drunk at a speakeasy and impulsively marries his steady date Shirley Day (Vivienne Osborne), who almost immediately begins cheating on him with dance-hall proprietor Tony (J. Carroll Naish). When his co-worker pal Bud Clark (Preston S. Foster) tries to warn him of this hanky-panky, Allen angrily takes a punch at Clark, whereupon the other man falls to his death from a skyscraper girder. Told by his "repentant" wife that she's been messing around with Tony so as to borrow money from him, Allen begins playing the horses, earning just enough money to pay off his debts. With money in hand, he heads to Tony's place, only to discover that Shirley has been lying to him all along. In a fit of jealousy, he kills Shirley and subsequently is sentenced to the chair. As the executioner pulls the switch, Allen philosophizes that he's been the victim of the "postman always rings twice" syndrome: He escaped prosecution for Clark's unjustified death, only to be punished for his justifiable murder of Shirley ("It isn't fair to let a rat live and kill a man!") Edward G. Robinson overacts outrageously throughout Two Seconds, but that's part of the charm of this fascinating antique. ~ Hal Erickson, All Movie Guide

Inspired in part by the sensational Snyder-Gray murder case (which was also the source of The Postman Always Rings Twice), The Famous Ferguson Case casts an unflattering light on the journalist "feeding frenzy" attending such crimes. A wealthy banker named Ferguson is found murdered, and his bound-and-gagged wife (Vivienne Osborne) is rescued by the police. It appears at first that the murderer was an unknown burglar, but the cops think otherwise, hypothesizing that Mrs. Ferguson actually conspired with her lover Judd Brooks (Leon Waycoff, aka Leon Ames) to murder her husband. The small town where the murder occurred suddenly becomes the center of a media circus, with reporters from all over the country grasping and clawing for a "hot scoop." At first, hard-boiled girl reporter Maizie Dickson (Joan Blondell) is no better than the rest of the journalist jackals, but she soon becomes disillusioned at the manner in which the truth has been crushed to earth by her insensitive brethren. She also has her heart broken when her husband, likewise a reporter, uses his assignment as an excuse to sleep around. The relentless media blitz eventually drives Mrs. Ferguson (whose guilt or innocence is never completely established) to kill herself and also ruins the lives of everyone around her. Once considered a relic of its period, The Famous Ferguson Case grows more timely with each passing year. ~ Hal Erickson, All Movie Guide

George Morris (James Hall) is madly in love with his wife Helen (Irene Delroy), but rakish bachelor Paul Wilcox (Lew Cody) and glamorous seductress Joan Whitley (Natalie Morehead) get in the way. After a series of petty squabbles, George links up with Joan, while Helen walks off with Paul. The divorced couple tries to maintain a civilized relationship, but they can't hide the pain. George and Helen eventually patch things up, but not before a series of all-too-well domestic confrontations. Lew Cody provides the film's lighter moments, never talking when drinking will do. ~ Hal Erickson, All Movie Guide

Few actresses exuded as much raw sensuality as the pre-Production Code Barbara Stanwyck. In Illicit, Anne Vincent (Stanwyck) spends most of her time dressed in a loose-fitting kimono as the mistress of Dick Ives (James Rennie). The couple lives openly in sin because Anne does not believe in marriage, convinced that she could never remain faithful to Dick if they legalized their union. Sure enough, when Annie and Dick do tie the knot, they immediately begin fooling around with others. In the end, however, morality and fidelity prevails -- and about time! Illicit created quite a stir in 1931, not so much because of its half-hearted advocation of "free love," but because of its unconventionally independent heroine (of course, if it had been the hero who was opposed to marriage, no one would have said boo). ~ Hal Erickson, All Movie Guide

William Wellman's landmark gangster movie traces the rise and fall of prohibition-era mobster Tom Powers. We are first shown various episodes of Tom's childhood with the corrupting influences of the beer hall, pool parlor, and false friends like minor-league fence Putty Nose. As young adults, Tom (James Cagney) and his pal, Matt Doyle (Edward Woods), are hired by ruthless but innately decent bootlegger Paddy Ryan (Robert Emmett O'Connor). The boys quickly rise to the top of the heap, with all the accoutrements of success: custom-tailored tuxedoes, fancy cars, and gorgeous girls. All the while, Tom's loving (and somewhat addlepated) mother (Beryl Mercer) is kept in the dark, believing Tommy to be a good boy, a façade easily seen through by his older brother Mike (Donald Cook). Tommy's degeneration from brash kid to vicious lowlife is brought home in a famous scene in which he smashes a grapefruit in the face of his latest mistress (Mae Clarke). Some dated elements aside, The Public Enemy is as powerful as when it was first released, and it is far superior to the like-vintage Little Caesar. James Cagney is so dynamic in his first starring role that he practically bursts off the screen; he makes the audience pull for a character with no redeeming qualities. The film is blessed with a superior supporting cast: Joan Blondell is somewhat wasted as Matt's girl, Mamie; Jean Harlow is better served as Tom's main squeeze, Gwen (though some of her line readings are a bit awkward); and Murray Kinnell is slime personified as the deceitful Putty Nose, who "gets his" in unforgettable fashion. Despite a tacked-on opening disclaimer, most of the characters in The Public Enemy are based on actual people, a fact not lost on audiences of the period. Current prints are struck from the 1949 reissue, which was shortened from 92 to 83 minutes (among the deletions was the character of real-life hoodlum Bugs Moran). ~ Hal Erickson, All Movie Guide

Its breezy, upbeat title notwithstanding, She Couldn't Say No leans heavily toward the melodramatic. Winnie Lightner plays Winnie Harper, a brassy cabaret singer who falls in love with gentleman gangster Jerry Casey (Chester Morris). So smitten is Jerry that he sets up Winnie in her own nightclub, for which she is eternally grateful. But Jerry can't keep his eyes -- or his hands -- away from society gal Iris (Sally Eilers), sending Winnie into a professional and personal funk. Our hero wises up long enough to help restore Winnie to stardom, but a happy reunion is prevented by the bullets of a rival gangster. Students of 1930s movie stereotypes are advised to scrutinize the "pansy" portrayal offered by Johnny Arther and the traditional malaprop-spouting black maidservant impersonated by Louise Beavers. ~ Hal Erickson, All Movie Guide