Walter Catlett Movies

If you're wondering which Warners musical featured the songs "Old King Cole" and "Have You Got Any Castles?," we refer you to Varsity Show. Dick Powell stars as a musical producer, called back to his alma mater to stage the annual college variety show. Uptight dean Walter Catlett is dead set against Powell's "scandalous" form of entertainment. The college kids conspire with Powell to stage their show in an empty Broadway theatre during the off-season. Turns out that Powell has Busby Berkeley under contract; well, he doesn't really, but it is Berkeley who stages the "big show" finale, in a spectacular fashion that would be impossible for any stage, college or professional. Among the costars of Varsity Show are Rosemary Lane as the ingenue, Ted Healy (in his last screen appearance) as comic relief, and Our Gang's "Spanky," here billed more formally under his real name, George McFarland. ~ Hal Erickson, All Movie Guide

The hyped-up 1930s radio feud between bandleader Ben Bernie and columnist Walter Winchell is all but forgotten today, but that doesn't lessen the entertainment value of the Bernie/Winchell vehicle Wake Up and Live. Amidst the bickering of the two stars, the film traces the progress of mike-shy singer Jack Haley (whose singing voice was dubbed by Buddy Clark). Leading lady Alice Faye tricks Haley into singing on the air with Bernie's orchestra, which results in Winchell doing his best to discredit both Bernie and Haley. Eventually Haley and Alice Faye fall in love, and Ben and Walter patch up their differences. So successful was Wake Up and Live that 20th Century-Fox rushed Bernie and Winchell into a follow-up, Love and Hisses (38), but by that time their feud had taken second place in the hearts of America to the equally contrived "battle" between Jack Benny and Fred Allen. ~ Hal Erickson, All Movie Guide

Director Roy Del Ruth and singing star Dick Powell were raided from the Warner Bros. stables for this frothy musical comedy that features a wonderful collection of Irving Berlin songs, including "I've Got My Love to Keep Me Warm" and "Slumming on Park Avenue." Powell stars as Broadway impresario Gary Blake, who is busy putting together his latest Broadway musical starring the Ritz Brothers (as themselves) and musical comedy star Mona Merrick (Alice Faye). Mona's role as "The Richest Girl in the World" is a blunt burlesque of Park Avenue socialite Mimi Caraway (Madeleine Carroll), who catches a performance and becomes enraged at the not-so-subtle ribbing. Mimi goes backstage to protest Mona's performance to Gary, who is immediately attracted to Mimi and agrees to tone down the role. Unfortunately, Mona, who was once Gary's girlfriend, has other ideas. When Mimi and her family come to the next performance, they are shocked to discover Mona's character is even more nasty and self-centered than before. In retaliation, Mimi and her family buy out the production and Mimi makes changes that even the moony Gary objects to. ~ Paul Brenner, All Movie Guide

An airy screwball comedy, Danger--Love at Work explores the lives of a wealthy but wacky family. Ann Sothern plays the daughter, the only remotely "normal" member of the clan. Poor Jack Haley enters the scene as a feckless attorney who tries to get the family to finalize an important land deal. Sothern falls for Haley, and through the machinations of her looney parents the timorous lawyer winds up the object of a "shotgun wedding." The amusing but inconsequential Danger--Love at Work was the second American film of director Otto Preminger. ~ Hal Erickson, All Movie Guide

We Went to College is a perceptive spoof of alumni "homecoming" reunions. Hugh Herbert plays a daffy economics professor, who invites old grads Glenn Harvey (Charles Butterworth), Phil Talbot (Walter Abel) and Senator Budger (Walter Catlett), among many others, to attend the annual homecoming rally. It isn't long before the three middle-agers jump-start their old campus rivalries, much to the consternation of their wives. Our heroes also try their best to interfere with campus activities, notably the all-important homecoming football game. The finale, in which the inebriated Glenn Harvey stumbles onto the football field to prevent a touchdown, was based on an actual incident, which presumably wasn't quite as amusing as what happens on screen. ~ Hal Erickson, All Movie Guide

Casting an envious eye towards the huge box-office take of Columbia's Grace Moore vehicles, Republic hoped to strike gold in a similar fashion by fashioning a screen property for Kansas-born Metropolitan Opera diva Marion Talley. As it turned out, Follow Your Heart was Talley's first and last film, but Republic at least deserved a gold star for effort. The star is cast as Marian Forrester, the daughter of onetime opera star Madame Bovard (Henrietta Crossman). Recalling the many heartbreaks and disappointments attending her own stardom, Mme. Bovard refuses to allow Marian to pursue a singing career. But with the surreptitious help of handsome Michael Williams (Michael Bartlett, another real-life singer) and bumbling but lovable voice teacher Henri Forrester (Nigel Bruce), Marian makes her Met debut, and her mother gracefully bows to the inevitable. Though there's plenty of "straight" singing throughout Follow Your Heart, the film's highlight is a burlesque of the "Sextet" from Lucia di Lammermoor. ~ Hal Erickson, All Movie Guide

For a change of pace, Warner Bros. contract tenor James Melton sings no opera in Sing Me A Love Song -- nor does he sing anything particularly memorable, either. Melton stars as Jerry Haines, a young man-about-town who takes an entry-level job in his dad's department store. Jerry wants no special favors, so he works under an assumed name, a fact that will lead to complications in due time. Music-counter clerk Jean Martin (Patricia Ellis) is attracted to Jerry, especially when he helps her out by singing the latest tunes for her customers. As their off-and-on romance plays itself out, the film's comedy subplot is carried by Hugh Herbert as zany kleptomaniac Siegfried Hammerschlag, ZaSu Pitts is would-be hillbilly crooner Gwen, and Walter Catlett as a stupidly obsequious floorwalker. In fact, there's so much comedy in Sing Me a Love Song that there's hardly any time to sing that love song! ~ 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

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

Walter Catlett plays Charles J. Porter, a mild-mannered, middle-class milquetoast of a man who thinks he can be a heavyweight champion (don't ask). His wife pays off the owner of a local gymnasium where he plans to train, to dissuade him of this notion by any means possible -- and what he walks into is a topsy-turvy, Bizzaro-like environment (anticipating Olsen & Johnson's Hellzapoppin') in which nothing from the most routine conversation on up is logical, all in hopes of gaslighting Porter. This is a peculiarly passive kind of role for Catlett, who is reacting to -- rather than generating -- the nutsiness around him, but he's so funny even in this relatively limited role, that he's worth seeing, especially in a scene in which he has a conversation with Ethel Sykes, the latter doing a very good Gracie Allen-like turn as the receptionist at the gymnasium. Completists will want to see it in any case, and it is a amusing short even if it doesn't represent Catlett at his funniest. And the ever-reliable Frank Moran is on hand as one of the denizens of the gymnasium, as always looking like the toughest pug in the picture. ~ Bruce Eder, All Movie Guide

This well-mounted Majestic Pictures effort was inspired by Collusion, a novel by Theodore D. Irwin. Edward Arnold is in his element as Frank Rodie, an honest lawyer who turns dishonest to pay off his wife's stock-market losses. Still desperate for money, Rodie offers to serve as a co-respondent in a divorce case. His far-from-grateful wife (Helen Jerome Eddy) uses this as an excuse to divorce him and desert him for her paramour. Rodie spends the rest of the picture proving that his wife was a fool for deceiving and underestimating him. The "blonde" of the title is played by Dorothy Revier, actually one of the more sympathetic characters in the film. ~ Hal Erickson, All Movie Guide