Robert Warwick Movies

Yet another Zorro imitation, this adventure serial starred Robert Livingston as Don Loring, whose father and brother are killed by the evil General Burr (Fred Kohler). Seeking revenge, Loring dons a black cape and mask, calls himself "The Eagle," and goes about bringing Burr and his men to justice. As a daytime cover, the hero assumes the role of a kind, simple-minded church organist, a disguise that manages to fool Burr and his collaborator, the nasty Russian Count Raspinoff (Robert Warwick), for the serial's 12 installments. Guinn "Big Boy" Williams co-starred as Salvation, the leader of a motley gang of outlaws who assist Loring in his quest, while brunette Kay Hughes added much needed feminine touch to the proceedings. Produced for Republic Pictures by genre specialist Nat Levine, the serial was co-directed by former actor Mack V. Wright and Ray Taylor. ~ Hans J. Wollstein, All Movie Guide

Trail Dust was the eighth entry in the 66-film "Hopalong Cassidy" series. William Boyd, of course, is Hoppy, while his sidekicks Johnny and Windy are portrayed respectively by James Ellison and Gabby Hayes. This time the story is motivated by a huge cattle drive, some of which is lifted from such silent epics as North of 36, but much of which was specially staged for this film. The villains are members of a cattlemen's cartel who conspire to kill off the herds of their less-prosperous competitors. But Hoppy and his chums deliver the cows and bulls on time, and even round up the baddies for the benefit of The Law. At 77 minutes, Trail Dust was the longest "Hopalong Cassidy" to date -- but it would soon be eclipsed by the 82-minute Borderland. ~ Hal Erickson, All Movie Guide

The Bold Caballero, Republic Pictures' first color film, was also the first talkie version of the "Zorro" legend (as originally set down by Johnston McCulley in The Curse of Capistrano). Robert Livingston essays the dual role of foppish Spanish-Californian aristocrat Don Diego, who when the necessity arises dons the mask and black cape of righter-of-wrongs Zorro. As usual, the Z-man spends his time defending the California peasantry from the wicked machinations of the corrupt, quasi-fascistic commandante (Sig Rumann), who has murdered the provincial governor and shifted the blame to Zorro. The film contains such marvelous set-pieces as Diego's advice to the leering commandante as to how to romance the fair Isabella (Heather Angel), and a bizarre "drag" scene in which the hero disguises himself as the heroine's duenna. Alas, current prints of The Bold Caballero are available only in black and white. ~ Hal Erickson, All Movie Guide

Spencer Tracy plays a hard-driving newsman with a special instinct for solving sensational murders before the police can. This earns him the grudging respect of his peers, but his editor always puts him in his place. Tracy spends most of his time solving cases and almost never sleeps at home. This worries his lovely colleague Virginia Bruce who secretly loves him and wants him to settle down. Trouble comes after Tracy's estranged wife commits suicide and con-artists destroy the life of Tracy's dad. Vengefully, Tracy begins plotting the perfect murder of these larcenous crooks. This was Tracy's first film for MGM. He would remain with the studio for the next twenty years. Murder Man also marks the debut of Jimmy Stewart who appears as a cub reporter jokingly named "Shorty." ~ Sandra Brennan, All Movie Guide

It is a tale known well, filmed many times over the years, but never better than this early black and white version from the MGM Studios, David O. Selznick producing. "It was the best of times, it was the worst of times"-- Charles Dickens juxtaposes England and France, George and Louis, tradition and revolution. One of the most beloved of Dickens' stories, finding not only countries and conditions compared, but also two individuals thrown up in stark contrast to one another: -- the dissolute barrister Sydney Carton (Ronald Colman) and the young, somewhat callow aristocrat Charles Darnay (Donald Woods), both in love with Lucie (Elizabeth Allan), daughter of a victim of the French Regime. Their lives intertwine until the violent revolution that overtook an entire nation engulfs them all as well.

Dickens' story has stood the test of time; remade frequently since the release of this1935 version. It is this version by director Jack Conway's that is best remembered and to which all others are compared. The settings, cinematography, and direction are all right on the mark, recreating the streets of London and of Paris with great skill and realism. The supporting cast, filled with faces we have grown to cherish-- Reginald Owen, Edna May Oliver, Claude Gillingwater, Walter Catlett, H. B. Warner, Basil Rathbone, and E. E. Clive-comes through with crystalline performances which add substance to the inexorable stream of events. Blanche Yurka's bravura turn as Therese de Farge delights us even as we shudder at her intensity. Second unit directors Jacques Tourneur and Val Lewton, who would both go on to memorable careers as leading directors in their own right, staged the storming of the Bastille and other "revolutionary" scenes brilliantly, managing to combine fervor with panache. It is, however, Colman's portrayal of the lonely man redeemed by love and sacrifice which stands at the center of the story.

Sydney Carton first saves Charles Darnay from a charge of treason, thereby meeting those who care for him: the beautiful Lucie Manette, her father, Doctor Manette (Henry B. Walthall), released from the Bastille after many years of unjust incarceration; Lucie's servant Miss Pross, (Oliver) and Mister Lorry (Claude Gillingwater), an functionary of Tellson's Bank. His relationship with this circle of kind friends grows rocky when Darnay marries Lucie, whom Carton has loved from afar, but even this turn of events cannot change his feelings for them all and he grows to love them even more when daughter Lucie comes along. He reforms, leaving old ways behind and enjoying a familial warmth he has never known. This happy life is shattered when Darnay returns to France during the first revolutionary struggles, intent on saving his old tutor from the guillotine. He soon finds himself behind bars and facing the blade instead. The Revolution does not forget an aristocrat, even one who has recanted and lived life abroad as a commoner. The whole family makes the channel crossing to come to the young man's aid and Carton seeks a way to save him, discovering only one path to free Darnay and return everyone to safety. It is a sacrifice easily promised and quickly made.

Ronald Colman had long wanted to make a film of this story and, when he finally got his chance, he happily shaved off his signature mustache in an appropriate gesture to historical realism. Reviews of his work indicate his portrayal of Sydney Carton surpassed all his previous endeavors; he had been accused of walking through light parts, once he started making "talkies," and not putting his many talents to good use. "A Tale of Two Cities" put rest to those complaints. He dominates completely the scenes he which he does appear, and his skill gives substance to a literary achievement, a melancholy man of intelligence and wit, given to drink and despair, whose life seems to attain meaning only when it is given up for someone else. It is one of the portrayals for which Ronald Colman has come to be remembered.

There are various remake versions of A Tale of Two Cities. Dirk Bogarde played Carton in 1958 and Chris Sarandon starred in a television remake in 1980. While these and other versions have all been good films, none has achieved the stature of the 1935 version and its excellent combination of star power, technical brilliance and great storytelling. ~ All Movie Guide

Shirley Temple's first costume picture -- and one of her best pictures of any kind -- was 1935's The Little Colonel. The story begins in 1870, when unreconstructed Southerner Colonel Lloyd (Lionel Barrymore) disowns his daughter Elizabeth (Evelyn Venable) when she stubbornly marries damn-Yankee Jack Sherman (John Lodge). Several years pass, during which time the Shermans' daughter, Lloyd (Temple), dubbed "the little colonel," is born. When Jack and Elizabeth suffer a series of financial reverses, they are compelled to move into a small cottage owned by Elizabeth, near her father's estate. As tenacious and opinionated as her grandpa, little Lloyd befriends the crusty old codger and tries to effect a reunion between the colonel and Elizabeth. Her efforts at first meet with failure, but when the ailing Jack is imperiled by all-around villain Swazey (Sidney Blackmer) does the colonel race to the rescue, with the "little colonel" leading the way. The film's brief Technicolor finale, long missing from TV prints, was restored in the mid-'80s. Why Fox felt that Technicolor was needed is a mystery; Shirley Temple's name in and of itself was the principal drawing card of The Little Colonel, while Temple's famous stair-dance duet with Bill "Bojangles" Robinson was worth the admission price in itself. ~ Hal Erickson, All Movie Guide

Henry Fonda made his screen debut in this filmization of his Broadway success The Farmer Takes a Wife. The story is set along the Erie Canal in the 1850s. Fonda plays a farmer who takes a river job to make ends meet. He falls in love with Janet Gaynor, daughter of a canal-boat cook, who thinks very little of farmers. Nonetheless, Fonda and Gaynor marry, much to the displeasure of canal skipper Charles Bickford, who'd assumed that Janet was his girl. When Fonda avoids a fight with Bickford, Janet believes that he's yellow, but he eventually proves otherwise. It is said that during his first day on the set, movie novice Henry Fonda, noting the camera direction "dolly with Dan and Molly" in the script, asked director Victor Fleming who Dolly was. Adapted from the play by Frank B. Elser and Marc Connelly, The Farmer Takes a Wife was remade with Betty Grable and Dale Robertson in 1955. ~ Hal Erickson, All Movie Guide

Warren William delivers a curiously subdued performance as dilettante sleuth Philo Vance in The Dragon Murder Case. The plot centers around a mysterious "dragon pool" on the Stamm estate, which figures prominently in the deaths of several unsympathetic society types. As usual, Inspector Markham (Robert McWade) and Sergeant Heath (Eugene Pallette) are all for snapping the cuffs on the most obvious suspect, but Philo Vance knows full well that appearances are deceiving. The all-suspect cast includes Margaret Lindsay, Lyle Talbot, Helen Lowell, Dorothy Tree, Robert Barrat and George Meeker, many of whom thoughtfully remove themselves from suspicion by getting killed themselves. Not a particularly mysterious mystery, The Dragon Murder Case works better on a melodramatic level, with some genuinely spooky camerawork courtesy of the ever-reliable Tony Gaudio. ~ Hal Erickson, All Movie Guide

Film historian William K. Everson once observed that the secret to the success of Cecil B. DeMille's 1934 Cleopatra is that DeMille subtly reshaped the known historical events into a contemporary "gold-digger makes good" scenario. Exhibiting the same determination with which Barbara Stanwyck sleeps her way to the top in 1933's Baby Face, Queen Cleopatra (Claudette Colbert) uses her feminine wiles to become sole ruler of Egypt. By turns kittenish and cold-blooded, Cleopatra wraps such otherwise responsible Roman worthies as Julius Caesar (Warren William, who wittily plays his role like one of his standard ruthless business executives) and Marc Antony (Henry Wilcoxon) around her well-manicured little finger. To emphasize the "contemporary" nature of the film, DeMille adds little modernistic touches throughout: The architecture of Egypt and Rome has a distinctly art-deco look; a matron at a social gathering clucks "Poor Calpurnia...well, the wife is always the last to know"; and, after Caesar's funeral, Mark Anthony is chided by an associate for "all that 'Friends, Romans, Countrymen' business!" Cleopatra's barge scene and her suicide from the bite of a snake marked two of the most memorable sequences in DeMille's career. Remarkably, for all the enormous sets and elaborate costumes, Cleopatra came in at a budget of $750,000 -- almost $40 million less than the 1963 Elizabeth Taylor remake. ~ Hal Erickson, All Movie Guide

John Ford directed this emotional drama, which was a considerable change of pace from the westerns and war pictures for which he was best known. Hannah Jessop (Henrietta Crosman) fears being abandoned by her son Jim (Norman Foster), and she doesn't approve of his romance with Mary Saunders (Marian Nixon). When Hannah discovers that Jim and Mary plan to wed, she sends her son off to fight in WWI, unaware that Mary is carrying his child. Jim is killed in combat just as Mary is giving birth, and while Hannah is crushed by the loss of her son, she cannot forgive Mary or abide her grandson, Jim, Jr. (Jay Ward). Years later, Hannah is prodded into joining a group of women who lost their sons in the war on a visit to the battlefields of Europe; en route, she meets Mrs. Hatfield (Lucille La Verne), whose warmth and gracious acceptance of her misfortune forces Hannah to take a look at herself and her attitudes. ~ Mark Deming, All Movie Guide

Ruth Chatterton tears up the screen in this fast-paced, lusty comedy. Alison Drake is an automobile magnate, a hard-nosed, hardboiled business woman making dozens of important decisions a day. In her private life, however, she is passionate and bold in her pursuit of male companionship, which she frequently finds among the ranks of her own employees and executives; the problem is that these men can't abide the fact that back at work, she's all business again; and she keeps having to get their long, mopey faces out of her presence by transferring them elsewhere. Then she meets Jim Thorne (George Brent), a gifted engineer who is attracted to Drake but isn't a callow, cowtowing yes-man, and isn't awed by her millions. After a few awkward encounters, they find a balance in their lives together, or so she thinks, until he proposes marriage. ~ Bruce Eder, All Movie Guide

Frequently cited as the precursor to Citizen Kane, Power and the Glory is the first major Hollywood film to extensively utilize narrated flashbacks to tell its story. At the funeral of a powerful railroad executive (Spencer Tracy), the exec's best friend (Ralph Morgan) recalls the dead man's colorful but tragic life. We see Tracy's early years as a trackwalker and his marriage to Colleen Moore, who helps him rise to the top. At first, Tracy is a kindly man, a fair minded employer and a devoted husband and father, but his ever-increasing power corrupts him. He leaves Moore for an adventuress (Helen Vinson), whereupon his wife commits suicide. Tracy later kills himself as well when he learns that his second wife has been unfaithful with his grown son. The "narrative" technique used to relate the plotline of Power and the Glory is interesting, though the film itself is a bit too cut-and-dried (suicide seems to be a logical solution rather than a last desperate move) and far too short (76 minutes) to do justice to its central character. ~ Hal Erickson, All Movie Guide

Adapted from Alexander Dumas's novel, this adventure is about a trio of Foreign Legion friends who confront the Devil of the Desert. Three Musketeers is the last of actor John Wayne's three serials for Mascot Studios. It was later edited down to just below feature length and released as the 1946 Desert Command. ~ Kristie Hassen, All Movie Guide