Nora Cecil Movies

Usually associated with erudite, urbane comedies, the legendary screen team of Katharine Hepburn and Spencer Tracy goes intensely dramatic in the expensive western Sea of Grass. Tracy plays cattle baron Colonel James Brewton, who staunchly opposes opening the western frontier to homesteaders. Standing steadfastly beside Brewton-at least at the beginning--is his headstrong wife Lutie (Hepburn). Eventually disillusioned by the stern implacability of her husband, Lutie leaves Brewton and goes off to Denver, where she falls in love with liberal attorney Brice Chamberlain (Melvyn Douglas), the champion of the homesteaders' cause. Upon giving birth to Chamberlain's son, Lutie confesses her indiscretion to Brewton, who takes the news with commendable restraint, even offering to accept the baby as his own. Unfortunately, the Brewtons' standing in the community is weakened by the revelation of Lutie's infidelity, causing her to leave her husband for a second time. Years later, Lutie's grown-up boy Brock (Robert Walker) drifts to the wrong side of the law, leading to his death at the hands of a posse. Though it hardly seems possible under the circumstances, Brewton and Lutie are at long last reconciled through the intervention of their daughter Sara Beth (Phyllis Thaxter). Elaborately produced in the traditional MGM manner and adroitly directed by Elia Kazan, Sea of Grass is still one of the lesser Tracy-Hepburns. ~ Hal Erickson, All Movie Guide

The Shadow (Richmond) investigates the murder of an art dealer with his only clue being a stolen jade statuette. ~ All Movie Guide

"Some are born great, some achieve greatness, some have greatness thrust upon 'em." Firmly in the latter category is Norval Jones (Eddie Bracken), a feckless wartime 4-F who must stand by helplessly as his sweetheart Trudy Kockenlocker (Betty Hutton) entertains every visiting GI in town. One morning after a particularly wild night, Trudy labors under the apprehension that last eve, she'd married a soldier named Ratzkywatzky or something. Evidently something had happened that night, for soon Trudy discovers that she's pregnant. Hiding this information from her bombastic policeman father (William Demarest), Trudy begs Norval to tell the world that he's the father. He agrees, but only after secretly wedding Trudy under an assumed name. Complications and disasters pile up thick and fast, and before long Norval is facing arrest on a variety of charges. Providentially, Trudy gives birth to sextuplets-and suddenly Norval is a national hero! This vintage Preston Sturges farce plays so fast and loose with the censorial restrictions of mid-1940s Hollywood that critic James Agee was moved to comment that, "the Hays office must have been raped in its sleep." As usual, Sturges populates his cast with steadfast members of his stock company-- including, in guest roles, Brian Donlevy and Akim Tamiroff, the stars of his previous film, The Great McGinty. Originally filmed in 1942, Miracle was held from release from two years, not because of censor problems but because its parent studio, Paramount, was overloaded with product. Miracle of Morgan's Creek was remade (and considerably laundered) as the 1958 Jerry Lewis vehicle Rock-a-bye Baby. ~ Hal Erickson, All Movie Guide

The title Together Again referred to the fact that frequent costarsIrene Dunne and Charles Boyer were once more united on film. Dunne plays the lady mayor of a small Vermont town. Boyer portrays a big-city sculptor, hired to erect a statue in the memory of Irene's husband, the former mayor. Dunne and Boyer fall in love, but there's plenty of interference from snoops, gossips and well-meaning relatives. Further muddying the waters is Dunne's daughter Mona Freeman, who mistakenly believes that Boyer has eyes for her. Foxy father-in-law Charles Coburn is the cupidic catalyst in getting Dunne and Boyer to the altar by film's end. ~ Hal Erickson, All Movie Guide

As she burns at the stake, a 17th century witch, Jennifer (Veronica Lake), places a curse on her accuser (Fredric March), so that from this day forward, all of his descendants (each played by him) will be unhappy in marriage. After several hilarious through-the-years examples (the Civil War-era Fredric March runs off to battle rather than endure his wife's nagging), we are brought up to 1942. Wallace Wooley (March) is a gubernatorial candidate, preparing to wed snooty socialite Estelle Masterson (Susan Hayward) -- the well-to-do daughter of a publisher who is backing him. A bolt of lightning strikes the tree where Jennifer had been executed three centuries earlier, thereby freeing the spirits of Jennifer and her warlock father, Daniel (Cecil Kellaway). Wallace meets Jennifer when she materializes in a burning building, obliging him to save her life. The revivified sorceress does everything in her power to induce Wallace to fall in love with her -- even destroying the ceremony in which the wedding is supposed to take place. The attempts succeed, and the two marry, but on their wedding night, Wallace refuses to believe Jennifer's claims that she is a witch. Frustrated, she attempts to convince him by doctoring the gubernatorial election -- in his favor. Based on the Thorne Smith novel The Passionate Witch, the rollicking I Married a Witch can be considered the forerunner of the TV series Bewitched, but only on a surface level. The film had been scheduled to be directed by Preston Sturges and to be released by its producing studio, Paramount; the end result was helmed by René Clair (his second Hollywood film), and was distributed by United Artists. ~ Hal Erickson, All Movie Guide

In this comedy, the town gossip fills her time running the lives of others. Naturally, she is also a matchmaker. When she tries to find a suitable mate for her nephew, trouble ensues because he only has eyes for the daughter of the busybody's nemesis, the town judge. Meanwhile the girl the town yente wanted for her nephew finds herself attracted to the judge's son and ends up marrying him on the sly. He impregnates her and then goes to war. She later gives birth, but dies before she can tell anyone the truth. To protect her, the old gossip begins claiming the babe as her own. No one believes her. Fortunately, the judge's son returns and tells the truth. ~ Sandra Brennan, All Movie Guide

The girl is stenographer Dot Duncan (Lucille Ball); the guy is her boss, stuffy young shipping magnate Stephen Herrick (Edmond O'Brien); and the gob is a brash sailor known as Coffee Cup (George Murphy). Not surprisingly, the plot involves the efforts by the self-effacing Stephen and the self-confident Coffee Cup to woo and win the lovely Dot. And that's about all the "story" there is; the rest of the picture is jam-packed with round-robin comic misunderstandings and wild slapstick setpieces. A Girl, a Guy and a Gob was one of two RKO Radio films produced by silent-screen great Harold Lloyd, who reportedly dropped in on the set from time to time to offer a bit of sage comedy advice (note the "handkerchief" bit utlized by Edmond O'Brien; it had previously done service in Lloyd's own Welcome Danger). Not as big a moneymaker as Harold's starring features of the 1920s, the RKO film nonetheless turned a tidy profit for the studio. ~ Hal Erickson, All Movie Guide

W.C. Fields plays Egbert Souse, a bibulous denizen of Lompoc who supports his family by winning radio contests. When a fleeing bank robber is knocked cold upon tripping over the park bench where Egbert sits, Souse is hailed as a hero and offered the job of bank guard. The next day, he is approached by one J. Frothingham Waterbury (Russell Hicks), who offers to sell Egbert shares in the Beefsteak Mines. Souse raises the necessary money by convincing bank clerk Og Oggilby (Grady Sutton), the fiance of Egbert's daughter Myrtle (Una Merkel), to "borrow" some funds from the bank; it isn't really embezzling, explains Egbert, because the mine is bound to pay off. Unfortunately, bank examiner J. Pinkerton Snoopington (Franklin Pangborn) comes calling, spelling possible trouble for Souse. ~ Hal Erickson, All Movie Guide

Cecil B. DeMille takes us back to the 1860s, then rebuilds the first intercontinental railroad in Union Pacific. The real-life spectacle is occasionally interrupted by the fictional adventures of railroad overseer Joel McCrea, postmistress Barbara Stanwyck (with an incredible Irish brogue), and McCrea's best pal Robert Preston. Unfortunately Preston has fallen in with Brian Donlevy, who is dedicated to destroying the Union Pacific railroad on behalf of a crooked political cartel. During an Indian attack, McCrea and Preston fight side by side to save Stanwyck, prompting Preston to turn honest. On the day in 1869 that the "Golden Spike" is to be driven at Promontory Point, Preston is killed saving McCrea from Donlevy's bullets. Union Pacific owes a great deal to John Ford's 1924 film on the same subject, The Iron Horse, even restaging one or two major action sequences from the earlier film. This DeMille spectacular was a big hit with audiences of 1939, who craved a booster shot of flag-waving now and again. ~ Hal Erickson, All Movie Guide

In this comedy drama, young high school student Henry Aldrich tries to tone down his natural mischievousness and shuck the reputation of being the worst student in school. It isn't easy and his father, who was an excellent student at Princeton, doesn't help. Fortunately, by the story's end, the young man is able to overcome all obstacles and prove himself. Following this film, the character of Henry Aldrich became popular and so several subsequent films were made around him. ~ Sandra Brennan, All Movie Guide

We never actually see J. Carroll Naish in Alcatraz, but there's no doubt he's the "king" of the title. Most of the action takes place aboard a passenger ship, which Naish has boarded incognito in hopes of escaping prosecution. Naish and his gunmen take over the ship, complicating the lives of passengers and crew alike (in one scene, nurse Gail Patrick is obliged to perform an operation while being guided by an on-shore surgeon via wireless). Seamen Lloyd Nolan and Robert Preston bide their time, then turn the tables on Naish and his henchmen. Packing more action into its 57 minutes than most "A" pictures, King of Alcatraz is a film buff's dream, with a cast filled to the brim with familiar faces, from up-and-coming Anthony Quinn to silent movie vets Monte Blue, Tom Tyler and Gustav von Seyfertitz. ~ Hal Erickson, All Movie Guide

Another of Paramount's efforts to transform Metropolitan Opera diva Gladys Swarthout into a popular movie star, Champagne Waltz casts Swarthout as Elsa Strauss, the daughter of a celebrated Viennese composer (Fritz Leiber). American bandleader Buzzy Bellew (Fred MacMurray) and his aggregation invade Vienna with their own special repertoire of melodies, and before long the Austrian capital has abandoned waltzes in favor of jazz. With her family's waltz palace in danger of going out of business, Elsa heads next door to Buzzy's establishment, hoping to persuade him to pack up and go home. Not unexpectedly, the two fall in love (he even teaches her the art of chewing gum), leading to a harmonious "marriage" of musical genres (intended as the film's highlight, this climactic scene was mercilessly raked over the coals by the movie critics of the era). Jack Oakie's performance as Happy Gallagher does much to lift this predictable tune fest from the ordinary. ~ Hal Erickson, All Movie Guide

"This is New York, Skyscraper Champion of the World...Where the Slickers and Know-It-Alls peddle gold bricks to each other...And where Truth, crushed to earth, rises again more phony than a glass eye..." With this jaundiced opening title, scripter Ben Hecht introduces his classic comedy Nothing Sacred. Fredric March plays Wally Cook, a hotshot reporter condemned to writing obituaries because of his unwitting complicity in a fraud. Anxious to get back in the good graces of his editor Oliver Stone (Walter Connolly), Cook pounces on the story of New England girl Hazel Flagg (Carole Lombard), who is reportedly dying from radiation poisoning. Actually, Hazel isn't dying at all; she's been misdiagnosed by Moscow's eternally drunk doctor (Charles Winninger). But when Cook offers to take her on an all-expenses-paid trip to New York in exchange for her exclusive story, it's too good an offer to pass up. Once in the Big Apple, Hazel is feted as a heroine by the novelty-seeking populac; she enjoys the adulation at first, but soon (and with the help of gallons of alcoholic beverages) suffers the pangs of conscience. She confesses her deception to Cook, who by now has fallen in love with her. Cook and Stone conspire to keep the public from discovering the truth, eventually dreaming up a phony suicide. Travelling incognito to avoid arrest, Wally and Hazel marry and go on a honeymoon, secure in the knowledge that New York City has forgotten all about her and moved on to their next fad. Brimming with witty, acerbic dialogue and hilarious bits of physical business, Nothing Sacred is among the best "screwball" comedies of the 1930s. The musical score by Oscar Levant both mocks and celebrates the George Gershwinesque musical style then in vogue. As an added bonus, the film is lensed in Technicolor (avoid those two-color reissue prints), allowing modern viewers to see what New York City looked liked back in 1937. Nothing Sacred was later adapted into a Broadway musical, Hazel Flagg, which in turn was filmed by Dean Martin and Jerry Lewis as Living It Up (1954), with Lewis in the Carole Lombard role. ~ Hal Erickson, All Movie Guide