Tim Whelan, Sr. Movies

Claudette Colbert makes a long-overdue entree into the Western genre in Texas Lady. Looking at least a decade younger than her 50 years, Ms. Colbert plays Prudence Webb, who arrives in the wide-open town of Fort Ralston, Texas, to assume control of her late father's newspaper. Her first major print crusade is aimed at gambler Chris Mooney (Barry Sullivan), whom Prudence holds responsible for her dad's suicide (Mooney isn't, but it takes our heroine nearly eight reels to find this out). She then takes aim at a couple of crooked cattle barons (Ray Collins and Walter Sande), who'd like nothing better than to put Prudence out of the way for keeps. ~ Hal Erickson, All Movie Guide

In this drama a power-mad psycho woman vents her frustration by being cruel and abusive to her family. Because she disapproves of her daughter's marriage to a doctor, the wicked mother destroys the marriage. She tires of her husband and poisons him so she can get a new one. The only one she leaves alone is her darling son, a renowned medical researcher. When he wises up to her evil ways, he calls the cops. In the end the woman is convicted and sent to an asylum for the criminally insane. ~ Sandra Brennan, All Movie Guide

Previously filmed as a so-so Marx Brothers vehicle in 1938, the John Murray-Alan Boretz Broadway hit Room Service was effectively musicalized in 1944 as Step Lively. The plot remains intact: Fly-by-night theatrical producer Gordon Miller (Groucho Marx in the 1938 film, George Murphy in the remake) struggles to keep his production and cast together, despite severe deficiencies in the money department. Hotel-chain supervisor Wagner (Adolphe Menjou) threatens to throw Miller and his actors off the premises, an eventuality Miller hopes to forestall until he can obtain $50,000 from a wealthy backer. Meanwhile, Glen Davis (Frank Sinatra), the author of Miller's play, shows up to see how things are going. Before long, Glen is swept up in a desperate plot hatched by Miller and his underlings Binion (Wally Brown) and Harry (Alan Carney) to stay in the hotel despite Wagner's efforts to oust them. Caught in the middle are hapless hotel manager Gribble (Walter Slezak), potential backer Jenkins (Eugene Pallette), Glen's sweetheart Miss Abboli (Anne Jeffreys) and Miller's leading lady Christine (Gloria DeHaven). This being a musical, the outcome hinges on Glen's hitherto untapped singing ability, which might save the day if he overcomes a bout of psychosomatic laryngitis. ~ Hal Erickson, All Movie Guide

In most of his movie vehicles, bandleader Kay Kyser played a bandleader named Kay Kyser. In Swing Fever, however, Kyser is cast as aspiring songwriter Lowell Blackford. Though he isn't too successful at peddling his songs, Blackford does have one unique talent: The ability to hypnotize boxer Killer Kennedy (Nat Pendleton) into winning fights. Blackford is coerced into using his "whammy" on Kennedy by Ginger Gray (Marilyn Maxwell). On the night of the championship bout, Blackford finds out he's being used, but goes through with his hypnosis to save Ginger from gangsters. The whole thing ends rather incongruously with a patriotic floor show, a specialty of MGM films of the period. Several guest performers lift Swing Fever out of the ordinary, including Lena Horne and the Merrill Abbott Dancers. Also appearing is an uncredited Ava Gardner as a sarcastic receptionist. ~ Hal Erickson, All Movie Guide

Victor Mature and Lucille Ball top the star-studded cast of RKO Radio's Seven Days Leave. Mature plays Johnny Grey, an eternally smiling GI who suddenly falls heir to $100,000. There's just one catch: Johnny must marry heiress Terry (Ball), whom he's never met, within a seven-day period. Once this familiar premise has been set up, the film segues into an unending parade of supporting comedians and specialty performers, including Harold Peary (in his traditional "Great Gildersleeve" radio persona), Ralph Edwards (shown hosting his popular airwaves quizzer Truth or Consequences), announcer Charles Victor (likewise emceeing his Court of Missing Heirs radio program), singers Ginny Simms and Marcy McGuire, south-of-the-border entertainer Mapy Cortes, and bandleaders Freddy Martin and Les Brown. Also on tap are a brace of future TV favorites, Peter Lynd Hayes and Arnold Stang. The choreography is by director-to-be Charles Walters, making his Hollywood debut. Seven Days Leave should not be confused with the 1944 RKO Radio "B" Seven Days Ashore. ~ Hal Erickson, All Movie Guide

Hungarian actress Ilona Massey stars as an operative for the Axis in this slightly tongue-in-cheek wartime melodrama. She spends her working hours signalling secret messages to enemy U-boats. George Brent is the U.S. counterspy sent to track down the security leak. Brent's job is made doubly delicate when he falls in love with the seductive Massey. It is said that Ilona Massey never mastered the English language, and had to learn her lines phonetically; if true, why does she handle the funnier lines in International Lady so well? ~ Hal Erickson, All Movie Guide

In ancient Bagdad, the young prince Ahmad (John Justin) is betrayed, deposed, and imprisoned by his vizier Jaffar (Conrad Veidt), an evil and calculating man who is also a master of the Black Arts. But Ahmad is saved from prison, and certain execution, by Abu (Sabu), a young thief who has made his way in life by stealing whatever he needs. Together they escape from Bagdad and make their way to the port city of Basra, where they hope to sign to sail with the renowned sailor Sinbad. But Ahmad chances to catch a glimpse of the daughter (June Duprez) of the Sultan (Miles Malleson, who also co-wrote the screenplay), and falls hopelessly in love with her. Sneaking into the garden where she spends most of her days, she meets him and the two are bound together forever in that moment, he the first man she has ever seen, and she the most beautiful woman he has ever beheld. But no sooner have they declared their love for each other then Jaffar arrives in Basra, seeking the princess' hand in marriage -- and to secure the blessing of her father, a fanatical collector of toys, he offers the aging Sultan a fantastic mechanical flying horse that bears him into the clouds at will. The sultan agrees to the marriage, but the princess flees the city. Abu and Ahmad are captured and before either can tell the sultan of their plight, Jaffar works his magic, leaving Ahmad blind and transforming Abu into a dog -- conditions that will remain until he holds the princess in his arms.
Everything in the movie up to this point has been told in flashback, by Ahmad, as he is lured to the palace of his enemy. Jaffar has captured the princess, but she has fallen into a deep sleep that will not end -- so his doctors assure him -- until she is reunited with Ahmad. He achieves this goal, and the princess awakens, only to be parted from Ahmad again by Jaffar, who sails for Basra with her as his prisoner. But she won't love him, and the kind of love he wants from her can only be given by her, not taken by him. When Ahmad and Abu -- now restored by Jaffar's regaining the princess -- try to follow him, he calls up a storm that sweeps them from the sea. Abu finds himself on a beach alone, and while searching for Ahmad he finds a strange bottle, which he opens, and out comes a real genie (Rex Ingram), hundreds of feet tall. The genie means to kill him, but Abu outwits the genie and secures from him three wishes. Abu must find Ahmad, but to do that he must go to the Palace of the Goddess of Night, half a world away, and steal the All-Seeing Eye. Abu does this, getting past guards, both human and monstrous, and from there it is on to Ahmad. But a misunderstanding between them leaves the two friends separated, Ahmad captured by Jaffar and sentenced -- along with the princess, who will not love Jaffar -- to death. Meanwhile, Abu is stranded countless miles away. And then one desperate act by the boy suddenly sends Abu into a magical, golden kingdom, the Land of Legend, where he is greeted as their new king. The old king (Morton Selten) shows him the symbols of his rule, which include magical arrows forged to destroy injustice. Abu still must save his friend, and to do it commits one last act of theft -- but can he arrive in time? ~ Bruce Eder, All Movie Guide

This British spy thriller concerns the theft of valuable aircraft secrets by enemy agents. Laurence Olivier plays a firebrand test pilot who falls under suspicion when several planes disappear. Costar Ralph Richardson steals the film as a seemingly befuddled secret service operative assigned to the case. Despite its topicality (the film was made in 1939, when Europe was bracing itself against the possibility of war), Q Planes is played with the tongue-in-cheek bravado of a "Boy's Own Paper" tale. Q Planes was released in the US as Clouds over Europe. ~ Hal Erickson, All Movie Guide

Filmed in lavish Technicolor and given Tiffany production values by producer Alexander Korda, the British comedy Divorce of Lady X is at base a trivial little farce, buoyed by the sprightly performances of star Merle Oberon and Laurence Olivier. Ms. Oberon plays a costume-party guest who is forced to stay in a hotel overnight due to inclement weather. There are no rooms available, so the management prevails upon handsome but stuffy lawyer Olivier to give up half of his suite to the lovely Oberon. After a chaste evening together, Olivier becomes obsessed with Oberon, deducing that her elusiveness is due to the "fact" that she is married. Actually, she is nothing of the kind, but when an old school chum (Ralph Richardson) comes to Olivier's office to arrange for a divorce, Olivier jumps to the conclusion that Oberon is his old friend's soon-to-be "ex". Based on Gilbert Wakefield's play Counsel's Opinion, Divorce of Lady X has become a familiar presence on cable TV because of its public domain status; less familiar is an earlier movie version of the Wakefield play, filmed in 1932 by director Allan Dwan. ~ Hal Erickson, All Movie Guide

It's a tossup as to which George Eliot novel has most often been adapted to the screen, though it appears that Mill on the Floss has nosed out Silas Marner. Set in early 19th century England, the story focuses on the long-standing rivalry between two Lincolnshire families. The animosity stems from the refusal of mill owner Mr. Tulliver (Sam Livesey) to relinquish his water rights to demonic solicitor Mr. Wakem (Felix Aylmer). Caught in the legal crossfire is Tulliver's daughter Maggie (Geraldine Fitzgerald), in love with Wakem's good-hearted (albeit physically challenged) son Philip (Frank Lawton). When Maggie's good name is compromised by scandal, it is Philip who champions her cause, allowing them both a brief respite of happiness before the inevitable tragic denoument, in which the Floss River itself becomes a "character". Released in the US at 82 minutes, Mill on the Floss has since been restored to its original 94 minutes. ~ Hal Erickson, All Movie Guide

This film takes a look at British decorum and civilities when a highly conscientious army officer is accused of cheating at cards and turns to the courts to clear his name. At stake, of course, is his good name and the respect of his peers. The film depicts the British class and court systems and features a fairly powerful cast. Of significance is an excellent performance by Francis Sullivan as the defendant's attorney. ~ 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's a Boy was freely adapted from a German play by Franz Arnold and Ernest Bach. On the eve of his marriage to Anita Gunn (Heather Thatcher), Dudley Leake (Edward Everett Horton) is confronted by Joe Piper (Albert Burdon), who claims to be Dudley's illegitimate son. Best man James Skippett (Leslie Henson) smells a rat, especially when Joe demands money for his silence. Investigating on his own, Skippett learns a few awful truths and saves the day. Heavily made up as an old duffer, Edward Everett Horton garners most of the film's laughs, keeping the very thinnish plotline afloat. ~ Hal Erickson, All Movie Guide