Donald Woods Movies

Based on the best-selling Gladys Hasty Carroll novel of the same name, As the Earth Turns covers four seasons in the life of a Maine farming family. Jean Muir stars as Jen Shaw, daughter of dirt-poor farmers Mark and Min Shaw (David Landau, Dorothy Appleby). Jen's parents have an abiding distrust for their new neighbors, the Jankowskis -- not only because they're first-generation Poles, but also because they used to live in faraway Boston. Despite Mark and Min's opposition, Jen falls in love with Stan Jankowski (Donald Woods), but trouble looms in the form of Jen's stepsister Doris (Dorothy Appleby), who also has designs on Stan. New Warners contractee Jean Muir acquitted herself well in her first major role, which may be why As the Earth Turns did slightly better than expected at the box office. ~ Hal Erickson, All Movie Guide

Warner Oland made his fifth appearance as wily Honolulu-based detective Charlie Chan in Fox's Charlie Chan's Courage. Hired to deliver a valuable necklace, Chan shows up at a ranch estate, posing as a servant. His task is complicated when Victor Jordan (Jack Carter), the man who engaged his services, is murdered the moment he shows up at the ranch. Maintaining his servant guise, Charlie monitors the movements of the many suspects, eventually unmasking the hidden killer. Among the supporting players are several Chan-movie "regulars," some of whom turned out to be murderers in other series entries. Charlie Chan's Courage is a remake of the 1928 silent film The Chinese Parrot, in which Chan was played by Japanese actor Sojin; alas, neither film is available for viewing today. ~ Hal Erickson, All Movie Guide

Cited by film historian William K. Everson as one of the fastest-moving crime melodramas of the 1930s (if not the fastest) Fog Over Frisco still manages to leave viewers breathless. Top-billed Bette Davis plays giddy heiress Arlene Bradford, whose perverse fascination with gangsters gets her mixed up in a stolen-securities scheme. Arlene's more sensible sister Val (Margaret Lindsay) tries to keep her out of trouble, but this proves impossible. Entering into the fray are hotshot society reporter Tony (Donald Woods) and goofy photojournalist Izzy (Hugh Herbert), who like Val get in over their heads when they stumble upon the body of the murdered Arlene. The identity of the killer remains a well-concealed secret until Izzy, of all people, stumbles across a vital clue. Things really begin to accelerate when Val is kidnapped by Arlene's gangster cohorts (who, interestingly enough, are very reluctant to take her prisoner and do so only when there's no other option!), leading to a mile-a-minute rescue and hasty plot wrap-up. Among the many good guys, bad guys and red herrings are Alan Hale as an Irish cop, Robert H. Barrat as a butler who isn't a butler, and Henry O'Neill as a gosh-knows-what who may be the murderer. Though physical action is at a minimum, Fog Over Frisco is kept constantly on the move by director William Dieterle, using every cinematic trick and optical effect (wipe dissolves, iris-outs, swish-pans etc.) at his disposal. The film was less effectively remade as Spy Ship in 1942. ~ Hal Erickson, All Movie Guide

In this romance, a social worker employed by Traveler's Aid finally is able to show her love to a construction foreman responsible for building the Golden Gate Bridge. She has loved him for nine years and is delighted that they can finally be together. Unfortunately, both of them are so busy that it is difficult to be together. Fortunately, they do eventually connect. The film contains actual footage of the construction of the great San Francisco Bridge. ~ Sandra Brennan, All Movie Guide

The 1929 Jerome Kern-Oscar Hammerstein Broadway musical Sweet Adeline has generally been credited as the vanguard for the "Gay 90s" nostalgia fad of the early 1930s. By the time the film was adapted to the screen in 1935, that fad had pretty much played itself out, making the property seem more old-fashioned than ever. Irene Dunne takes over from Broadway's Helen Morgan as beer-hall entertainer Adeline Schmidt, whose romance with songwriter Sid Barnett (Donald Woods) undergoes an inordinate number of setbacks in the course of the film's 85 minutes. Much of the play's libretto has been scrapped in favor of an espionage angle, as Adeline tries to avoid assassination at the hands of a Spanish spy named Elysia (Wini Shaw). Contemporary critics carped that Irene Dunne was unable to match Helen Morgan's delivery of such torch songs as "Why Was I Born"; this is true enough, but Warner Bros. deserves credit for endeavoring to cast Dunne against type. ~ Hal Erickson, 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

Warner Bros' Road Gang is a retread of themes first explored (and stock footage first seen) in the studio's earlier I Am Fugitive From a Chain Gang. The story takes place in an unnamed Southern state, where prisoners are forced to work on chain gangs under appallingly brutal conditions. The local newspapermen try to expose this shameful situation to the world, but are prevented from doing so by fat-cat corrupt politicians who are benefitting financially from the enforced-labor policy. It takes the intervention of a crusading Chicago journalist (Henry O'Neill) to start the wheels of justice in motion. Most of the story is told through the eyes of hapless prison laborers Jim Larrabee (Donald Woods) and Bob Gordon (Carlyle Moore Jr.), only one of whom survives until the fade-out. Road Gang was scripted by future blacklistee Dalton Trumbo. ~ Hal Erickson, All Movie Guide

This crime drama is set in the fictional San Francisco eatery, Mary Grady's Chowder House which is presided over by the crusty Mary, a tough broad with a marshmallow heart. One of her regulars is a newspaper reporter who decides to write about the widow Grady's long lost son who disappeared 15-years-ago. The trouble begins when a vagabond fugitive, who got in trouble after trying to prevent a murder, learns of the reporter's search and decides to pretend to be the prodigal son. At first the gruff Mary and her adopted daughter are skeptical. But later when the detective who pursues the killer closes in, they end up defending the young man. When the fugitive sees a picture of Mary's late husband, he realizes that the real killer is Mary's estranged son. Soon the widow and the reporter begin putting things together and find themselves closer to finding her real son. They do not know what he has done so the good-hearted fugitive tries to thwart them at every turn. This puts him in grave danger, but this doesn't sway him. Unfortunately, he fails and Mary finds her long-lost offspring, and just after he admits that he is her son, he is killed in a police shoot out. ~ Sandra Brennan, All Movie Guide

Briefly breaking away from her high-gloss modern soap operas, Kay Francis stars as Florence Nightingale in this reverent Warner Bros. biopic. The screenplay concentrates on Nightingale's humanitarian activities during the Crimean War of 1854-55. Defiant in the face of military bureaucracy and the male hierarchy, she organizes a volunteer group of nurses to tend to the military wounded, and also works tirelessly to update and improve the primitive, almost barbaric medical conditions of the Victorian Era. Of the supporting characters, only Ian Hunter as Fuller evinces any sort of humanity; the rest, especially Montague Love, are grim-visaged stereotypes. Critics were unkind to Kay Francis' performance in White Angel, with the New York Times speaking for many by suggesting that Francis was too overwhelmed by the historical importance of her character to deliver a believable performance. By today's standards, however, Francis is most effective despite her miscasting, delivering her difficult speeches with quiet and assured eloquence. ~ Hal Erickson, All Movie Guide

Now decidedly a product of Warner Bros.' grade-B unit, The Case of the Stuttering Bishop brought the Perry Mason series to a close. Donald Woods starred as Mason, with Ann Dvorak as his loyal secretary Della Street (who is constantly promised a raise that never seems to materialize) and Edward McWade in the title role. The latter asks Mason's help in a case of a young girl, Janice (Anne Nagel), who may or may not be the granddaughter of wealthy Ronald Brownley (Douglas Wood). The bishop suspects that she is a fake and it is Mason's job to find the real Janice, whose estranged mother Ida (Mira McKinney) believes her to be one Janice Seaton (Linda Perry). But before Brownley can verify this latest claim, he is murdered by what appears to be a woman wearing a light raincoat. A fingerprint in Brownley's car points to Ida as the murderess, but is she guilty? And who is the real Janice Brownley? ~ Hans J. Wollstein, All Movie Guide

This low-budget musical offers a peek behind the scenes in Hollywood. It centers on a recently unemployed talent scout who begins looking for a real talent to help him reestablish his career. He finds a talented actress and manages to convince his old boss to give her a screen test. Unfortunately, she is just awful; still the scout manages to get her on the studio payroll. Later she does indeed become a major star, and promptly falls in love with her leading man. This leads to big trouble. Fortunately, the talent scout saves her, and romance ensues. Songs include: "In the Silent Picture Days," "I Am the Singer, You Are My Song," "Born to Love," and "I Was Wrong" (M.K. Jerome, Jack Scholl). ~ Sandra Brennan, All Movie Guide

Big Town Girl is 20th-Century Fox's spin on Paramount's Carole Lombard vehicle The Princess Comes Across. Whereas Lombard played a Brooklyn girl posing as a Swedish princess, Big Town Girl's Claire Trevor plays a department store song plugger who becomes a radio singing sensation by posing as the mysterious "Masked Countess." This publicity ploy serves a double purpose: Trevor is the estranged wife of gangster Alan Baxter, and she doesn't want Baxter to know her whereabouts. Reporter Donald Woods tumbles to Trevor's deception, but he falls in love with her and determines to keep her secret. ~ Hal Erickson, All Movie Guide

This murder mystery is set behind-the-scenes of a radio station. the trouble begins when a hated cad of a sponsor is found murdered during the climax of a live radio show. The sponsor had a reputation for using women. A clever radio engineer solves the mystery. ~ Sandra Brennan, All Movie Guide