Glen Cavender Movies

An expansion of, and improvement upon, Lillian Hellman's stage play of the same name, Watch on the Rhine stars Paul Lukas, recreating his Broadway role of tireless anti-fascist crusader Kurt Muller. As the clouds of war gather in Europe in the late 1930s, Muller arrives in Washington DC, accompanied by his American wife Sara (top-billed Bette Davis) and their children Joshua (Donald Buka), Bodo (Eric Roberts) and Babette (Janis Wilson). The Mullers stay at the home of Sarah's wealthy mother Fanny Fannelly (Lucille Watson), who lives in her own world of society get-togethers and can't be bothered with politics. Also staying with Fanny is Rumanian aristocrat Teck de Branovis (George Coulouris) and his American wife Marthe (Geraldine Fitzgerald). To protect his family, Muller keeps his "underground" activities a secret from Fanny and her guests, but de Branovis is suspicious of the mild-mannered visitor. It turns out that de Branovis is actually a Nazi sympathizer, willing to betray Muller for a price. Using blackmail as one of his weapons, de Branovis threatens to destroy all that Muller has been fighting for. To prevent this, Muller kills de Branovis in cold blood. Now technically a murderer, Muller bids his family a reluctant goodbye, heading back to Europe to continue his vital work. If ever there was a justifiable homicide in a motion picture, it was the killing of the odious de Branovis in Watch on the Rhine. Still, the Hollywood production code dictated that a murderer must always pay for his crimes, thus a coda is added, alluding to Muller's death-providing a golden opportunity for a nifty smiling-through-the-tears curtain speech by Bette Davis. Scripted by Lillian Hellman's lover Dashiel Hammett, Watch on the Rhine earned several Academy Award nominations, as well as a "best actor" Oscar for Paul Lukas. ~ Hal Erickson, Rovi

The fact that star Errol Flynn had been recently embroiled in a real-life rape trial only served to increase the box-office "pull" of Warner Bros. Northern Pursuit. Flynn is cast as Canadian mountie Steve Wagner, assigned to track down and capture downed Nazi pilot Hugo von Keller (Helmut Dantine) in the snowier Hudson Bay regions. Once Wagner and fellow mountie Jim Austin (John Ridgely) catch up with Von Keller, they pretend to be on his side, hoping that he'll reveal his espionage plans. Taken in, Von Keller leads the mounties towards a secret Nazi hideaway, where the Germans have hidden a huge bombing plane, to be used against North America. The fact that Wagner is posing as a Nazi sympathizer hardly endears him to Von Keller's hostage Laura McBain (Julie Bishop), but when the truth is revealed she professes her love for him. In the light of Flynn's recent legal problems, one line in Northern Pursuit invariably brought down the house in 1943: After assuring Laura that she's the only woman he's ever loved, Wagner/Flynn turns to the camera and quips "What am I saying?" ~ Hal Erickson, Rovi

The Moss Hart-George S. Kaufman Broadway hit George Washington Slept Here has herein been tailored to the unique talents of Jack Benny. In the original play, city dweller Bill Fuller, fired up with the spirit of "back to the soil," purchases a ramshackle Colonial-era farmhouse in upstate New York, dragging his reluctant wife, Connie, along for the ride. Everett Freeman's screenplay retains the basic set-up with one important difference: in the film, it is Connie Fuller (Ann Sheridan), an inveterate antique collector, who is all hopped up about buying and renovating the old farmhouse, while husband Bill (Jack Benny), with visions of abject poverty dancing in his head, hates the whole idea. This slight character alteration allows Jack Benny to indulge in the frustrated, put-upon slow-burn comedy he does so well, while still leaving Hart and Kaufman's dextrous plot twists and punch lines intact. Most of the humor derives from the thousand-and-one "little" flaws in the drafty old house -- collapsing walls and ceilings, antiquated plumbing, et al. -- all duly categorized by laconic caretaker Mr. Kimber (Percy Kilbride, in a brilliant performance). Also thickening the plot are the efforts by the near-bankrupt Bill and Connie to curry favor with their wealthy uncle Stanley (Charles Coburn), who turns out to be a cheerful old fraud. The resolution of the plotline is inherent in the title, but there's still one last indignity left to be dumped on poor Bill Fuller's head at fade-out time. ~ Hal Erickson, Rovi

Eve Arden played her first bonafide film-starring role in the 1941 Warner Bros. "B"-picture She Couldn't Say No. A brilliant lawyer, Alice Hinsdale (Arden) is obliged to act as secretary to her legal-eagle fiancé Wallace Turnbull (Roger Pryor) because he can't abide the notion that his wife might be smarter than he. Taking on a breach-of-promise suit, Turnbull represents the defendant, only to discover that the attorney for the plaintiff is none other than newly-liberated Alice. Once before a judge and jury, Alice and her female client resort to "women's tricks" to win the case -- proof positive that She Couldn't Say No is a product of its times. The film's basic premise was used to better effect in the 1949 Tracy-Hepburn starrer Adam's Rib. ~ Hal Erickson, Rovi

This third film version of Maxwell Anderson's play Saturday's Children stars Claude Rains as the impecunious but proud father of a large brood. Rains' daughter Anne Shirley marries idealistic John Garfield, a would-be inventor who works for Shirley's father. Feeling that he's been tricked into marriage, Garfield gives every indication of turning out to be as much "failure" as Rains. Only when Garfield and Shirley are on the verge of breaking up do they realize that material gain is not the only barometer of success in life. Previous filmizations of this story include Saturday's Children (29), starring Corinne Griffith, and Maybe It's Love (35), costarring Ross Alexander and Gloria Stuart. ~ Hal Erickson, Rovi

This slightly laundered remake of the 1932 courtroom classic The Mouthpiece stars George Brent as brilliant but unprincipled DA Steve Forbes, a character based on legendary lawyer William Fallon. After railroading an innocent boy into the electric chair, Forbes goes on a bender, then cynically builds up a new practice as a criminal attorney. His underhanded legal tactics cause a rift between Forbes and his idealistic younger brother Johnny (William Lundigan), despite the fact that it was Steve's income that enabled Johnny to finish law school. Angered that his brother has enabled big-time gangster J.B. Roscoe (Richard Barthelmess) to continually elude the law, Johnny turns in damning evidence to the FBI. On Roscoe's orders, Steve frames Johnny on a murder charge, but reforms his ways in the nick of time. Based on a play by Frank J. Collins, The Man Who Talked too Much was remade in 1955 as Illegal, with Edward G. Robinson in the lead. ~ Hal Erickson, Rovi

Code of the Secret Service was the second of Warner Bros. "Brass Bancroft" series, starring Ronald Reagan as troubleshooting federal operative Bancroft. This time, Brass and his wisecracking partner Gabby (Eddie Foy Jr., brother of producer Bryan Foy) take on a particularly vicious gang of counterfeiters. Our heroes end up in Mexico, where they undergo a series of wild and wooly adventures the like of which were seldom seen outside of the Republic serials. According to Reagan, he was obliged to do his own stunts in the film because the budget couldn't afford a double; it certainly looks that way. Entertaining in its own dizzy fashion. Code of the Secret Service is proof positive that Reagan could carry a film with the right material. ~ Hal Erickson, Rovi

20th Century Fox's Christmas gift to moviegoers in 1939, this fanciful comedy-drama features the studio's darling of the ice, Sonja Henie. She plays the daughter of a Nobel Peace Prize-winner feared murdered by the German Gestapo. A couple of rival American newspaper reporters, Ray Milland and Robert Cummings, discover that the legendary Professor Norden (Maurice Moscovich) is still very much alive and living under an assumed name in Switzerland. The heroes, however, completely forget their critical assignment after spotting the professor's lovely daughter, Louise (Henie), and their preoccupation with the girl nearly leads to disaster. Fox borrowed Ray Milland from Paramount for this Henie vehicle, which was partially filmed at Sun Valley, ID. ~ Hans J. Wollstein, Rovi

Choreographer Bobby Connolly and prolific screenwriter Crane Wilbur teamed up on the direction of Warner Bros.' The Patient in Room 18. Patric Knowles delivers a delightfully comic performance as Lance, an outwardly normal young man obsessed with detective stories. When his obsession threatens to lapse over into lunacy, Lance is sent to the hospital for a nice long rest. It isn't long before he gets mixed up in a genuine murder mystery, using his second-hand knowhow to solve the case. Up-and-coming Ann Sheridan is quite amusing as Lance's nurse and confidante, while the murderer is played by a fellow who is usually cast as the murder victim. ~ Hal Erickson, Rovi

One of a slew of prison reform picture that flourished during the Great Depression, this melodrama was banned in Finland. Pat O'Brien stars as Steve Jameson, a former Army officer who is hired at the infamous California prison of the title and quickly brings military order to the facility, separating the general population from the most violent offenders. In the meantime, Steve is falling for a singer, May (Ann Sheridan), but he keeps his profession a secret when she reveals that her brother Joe (Humphrey Bogart) is serving time in San Quentin. May eventually learns of Steve's deception and their romance hits the skids. When a jealous rival guard, Lt. Druggin (Barton MacLane), arranges for Joe to discover the romance between Steve and his sister, Joe begins plotting escape and revenge. ~ Karl Williams, Rovi

In G Men, Warner Bros. "bad boy" James Cagney plays James "Brick" Davis, a young lawyer whose education has been financed by soft-hearted racketeer McKay (William Harrigan). When Cagney's best pal, detective Eddie Buchanan (Regis Toomey), is killed in a gangland shooting, James decides to become a G-Man. Though scrupulously honest, Davis is looked upon with suspicion by his fellow agents because of his association with the crooked McKay. He proves he's a "good guy" when his former girlfriend, Jean Ann Dvorak, now the wife of mobster Brad Collins (Barton MacLane), tips him off to a "Little Bohemia"-style gangster hideaway. Jean later sacrifices her own life to help James rescue his new girl, nurse Kay McCord (Margaret Lindsay), from the vengeful Collins. Based on Gregory Miller's book Public Enemy No. 1, G-Men was reissued in 1949, with an added prologue featuring David Brian as an FBI trainer who advises his students not to laugh at the old-fashioned costumes and slang in the 1935 film; seen today, it is Brian's superfluous opening comments that seem hopelessly dated, while the film itself is as exciting and entertaining as ever. ~ Hal Erickson, Rovi

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, Rovi

A typical Poverty Row potboiler, this minor silent action melodrama featured Jacqueline Logan as a young woman searching for her wayward brother (Arthur Rankin), who is falsely accused of murder and on the lam. Along the way, Miss Logan encounters untold dangers from a maniacal Chinese warlord (the always watchable Sojin) and falls in love with a handsome ship's captain (Jack Mower). A 1922 WAMPAS Baby Star, the beautiful Jacqueline Logan had played a very alluring Mary Magdalene in Cecil B. DeMille's The King of Kings (1927), after which her career inexplicably went into a free fall. A late entry in the "yellow peril" cycle, Ships of the Night was penned by prolific genre specialist Arthur Hoerl. ~ Hans J. Wollstein, Rovi