George Guhl Movies

Although some purists hold out for Duck Soup (1933), many Marx Brothers fans consider A Night at the Opera the team's best film. Immediately after the credits roll, we are introduced to Groucho Marx as penny-ante promoter Otis B. Driftwood. After a sumptuous dinner with a beautiful blonde at a fancy Milan restaurant, Driftwood tries to cadge another free meal from his wealthy patroness, Mrs. Claypool (Margaret Dumont). The dignified dowager complains that Driftwood had promised to get her into high society, but has done nothing so far. Otis B. counters by introducing Mrs. C to pompous opera entrepreneur Gottleib (Sig Rumann); all Mrs. Claypool has to do is invest several hundred thousand dollars in Gottleib's opera company, and her entree into society is in the bag. Contingent upon this plan is Driftwood's signing of Rodolfo Lassparri (Walter Woolf King), a self-important tenor. Backstage at the opera, Driftwood meets Fiorello (Chico Marx), who poses as a manager and offers to sell Driftwood the "world's greatest tenor"-not Lassparri, as Driftwood assumes, but Fiorello's pal Ricardo Baroni (Allan Jones). Instantly the two sharpsters try to draw up a contract ("The party of the first part shall hereafter be known as the party of the first part..."), which they proceed to tear up piece by piece whenever coming across a clause that displeases them (Driftwood: "That's a sanity clause"; Fiorello: "You no foola me. There ain't no Sanity Claus"). Having lost Lassparri to Gottleib, Driftwood sails back to America with Mrs. Claypool and the opera company. Gottleib arranges for Driftwood to get the tiniest, least accessible stateroom on the ship. Unpacking his trunk, Driftwood discovers that he's got to share his postage-stamp quarters with Ricardo Baroni, who has stowed away because he's in love with the opera troupe's leading lady Rosa (Kitty Carlisle). Also hiding out in Driftwood's trunk is Fiorello, who's come along because he's still Ricardo's manager, and the wacky Tomasso (Harpo Marx), Lassparri's former dresser, who has come along for the hell of it. Anxious to arrange a tete-a-tete with Mrs. Claypool in his stateroom, Otis finds out that his unwelcome guests won't leave until they're fed ("Do you have any stewed prunes? Well, give them some black coffee, that'll sober 'em up"). After ordering a huge dinner, Otis and his new friends are crowded even farther by a steady stream of intruders, including an engineer and his assistant, a cleaning lady, a manicurist, a girl looking for her Aunt Minnie, and a dozen waiters. The celebrated "stateroom scene" comes to a rollicking conclusion when Mrs. Claypool has the misfortune of opening the door. On the last night of the voyage, Fiorello, Tomasso and Ricardo sneak out of their stateroom to enjoy an impromptu ethnic festival in steerage. Ricardo sings, Fiorello "shoots the keys" on the piano, and Tomasso plays the film's theme song Alone on the harp. The stowaways are caught and thrown in the brig, but with Driftwood's help they escape. To avoid recapture, the stowaways don heavy beards and pose as three famed Russian aviators. After making a shambles of a public reception, the three reprobates hide out in Driftwood's New York apartment, where everyone conspires to drive an investigating detective (Robert Emmet O'Connor) crazy. Driftwood is fired from the opera company for associating with the stowaways, while Rosa is dismissed for refusing Lassparri's affections. In order to restore Rosa's job and put the deserving Ricardo in Lassparri's place during the opening performance of La Traviata, Driftwood, Fiorello and Tomasso concoct a scheme that will reduce the opera to comic chaos. The actual night at the opera in A Night at the Opera must be seen to be believed, but the spirit of the scene can be summed up by Gottleib's anguished cry "A battleship in Il Trovatore!" Opera was the Marx Brothers' first film for MGM, and they dearly coveted a hit after the disappointing box-office showing of their final Paramount films. With the blessing of MGM production chief Irving Thalberg, the Marxes went on the road with their brilliant writing staff (including George S. Kaufman, Morrie Ryskind and Al Boasberg) to test their comedy material before live audiences. As a result of this careful preplanning, Night at the Opera was a smash-hit gigglefest, grossing over $3 million and putting the Marxes back on top in the hearts and minds of filmgoers everywhere. ~ Hal Erickson, All Movie Guide

Three years after the second Thin Man entry, MGM brought back the property by popular demand with Another Thin Man. As ever, William Powell and Myrna Loy star as sophisticated sleuths Nick and Nora Charles, with the added filip of 8-month-old Nick Charles Jr. At the invitation of munitions manufacturer Colonel MacFay (C. Aubrey Smith), the Charleses spend a weekend at MacFay's Long Island estate. The Colonel is certain that his shady ex-business associate Phil Church (Sheldon Leonard) plans to do him harm, a prognostication that apparently comes true when murder rears its ugly head. Though he's promised to cut down on his drinking (after all, he's a daddy now), Nick spends an inordinate amount of time sorting out the clues and identifying the actual murderer-who, of course, is the least likely suspect (and in fact is played by an actor who seldom if ever harmed a fly in any other film). Adding to the merry mayhem is the Charleses' efforts to find a good baby-sitter, resulting in an onslaught of "help"-and additional babies!--courtesy of Nick's old Underworld cronies. ~ Hal Erickson, All Movie Guide

MGM tried to recapture the magic of the Wallace Beery/Marie Dressler films of the 1930s with Barnacle Bill. Beery is teamed with Marjorie Main, a Dressler "type" who had a roughneck style all her own. In the film, grumbly old fisherman Beery spends most of his screen time avoiding Main, who intends to trap him into matrimony. The rest of the time, Beery must contend with a daughter he never knew he had and with landlubbers who want to rob him of his seagoing livelihood. Barnacle Bill was one of six MGM films costarring Wallace Beery and Marjorie Main, an experience neither star enjoyed very much. ~ Hal Erickson, All Movie Guide

Blondes at Work is number four in Warner Bros.' lively "Torchy Blane" series. Glenda Farrell returns as girl reporter Torchy Blane, she of the mile-a-minute mouth, while Barton MacLane is back as Torchy's boyfriend/sparring partner, police lieutenant Steve McBride. The story revolves around Torchy's ability to constantly out-scoop her rival newshounds, thanks to tips inadvertently dropped by the loquacious McBride and his stupid assistant Gahagan (Tom Kennedy). Things come to a head when Torchy tries to get the low-down on a sensational murder case involving suspected husband-killer Louise Revelle (Rosella Towne). If the plot twists in Blondes at Work seem familiar, it's because the film is a remake of the 1935 Bette Davis vehicle Front Page Woman. ~ Hal Erickson, All Movie Guide

To fully appreciate Buck Benny Rides Again, one must have some familiarity with Jack Benny's radio programs of the 1939-40 season. During this period, Jack's broadcast costars included bandleader Phil Harris, announcer Don Wilson, singer Dennis Day and comedians Eddie "Rochester" Anderson and Andy Devine. All five supporting players appear in this film, all playing "themselves" just as Benny does. Falling in love with aspiring singer Joan Cameron (Ellen Drew), Jack vows to go out of his way to impress her. When he learns that Joan is headed for a western dude ranch, he poses as "Buck" Benny, a rootin'-tootin'-shootin' 100% genuine cowboy. In truth, both Jack and his valet Rochester are terrified at the Wide Open Spaces, certain that they'll be scalped by Indians at the first opportunity, but through a series of silly coincidences Benny manages to convince Joan that he's an honest-to-goodness frontiersman. The plot thickens when a pair of modern-day desperadoes (Ward Bond and Morris Ankrum) plot to rob the dude ranch's safe, but our hero saves both the day and his girlfriend, with the unsolicited but very welcome assistance of his pet polar bear Carmichael (the same bruin who allegedly ate the gas man on Jack's radio show). Benny fans will get an extra kick out of seeing his legendary Maxwell in all its sputtering, backfiring glory, while old-time radio aficionados will enjoy hearing the voices of Mary Livingstone (Mrs. Benny) and Jack's "friendly enemy" Fred Allen. Frank Loesser's musical score includes such hit-parade favorites as "Say It (Over and Over Again)" and "My! My!", the latter sung by Rochester to his sweetie Josephine (Theresa Harris). ~ Hal Erickson, All Movie Guide

This landmark western -- which, along with Stagecoach, has often been credited with revitalizing what had become a stagnant genre -- stars Errol Flynn as Wade Hatton, a cattle man who arrives in the frontier community of Dodge City, which is overrun by footloose cowboys and outlaws. When Hatton helps Dodge City lawmen capture a gang of cattle rustlers led by Jeff Surrett (Bruce Cabot), he's asked to help guide a wagon train into town with his friends Rusty Hart (Alan Hale, Sr.) and Tex Baird (Guinn Williams). En route, an impulsive young cowpoke named Lee Irving (William Lundigan) needlessly fires off his pistol, sparking a cattle stampede that leads to his death. When Hatton and his men arrive in Dodge, they discover Surrett is once again at large, and his gang has taken over the city. Appointed the city's new sheriff, Hatton is determined to clean up the town and put the outlaws out of business. In his rare moments off duty, Hatton tries to win the affections of Abbie Irving (Olivia de Havilland), but she believes that Hatton is responsible for the death of her brother Lee; Hatton's habit of flirting with dance hall girl Ruby Gilman (Ann Sheridan) does nothing to improve her opinion of him. A solid box office hit, Dodge City was the first of a series of westerns for swashbuckling star Flynn; his next oater, Virginia City, followed in 1940. ~ Mark Deming, All Movie Guide

This is the second entry in the Torch Blane reporter series. In this episode, ace reporter Torchy, wanting to impress her beau the police lieutenant, begins looking into a notorious murder. She gets a hot tip, boards a plane and sets off to follow up. She is accompanied by two rival journalists. En route, it is discovered that one of them is the murderer. ~ Sandra Brennan, All Movie Guide

Mae West is Goin' to Town in this elegant post-Production Code vehicle. West plays Cleo Borden, a nouveau riche cattle rancher who hopes to crash into high society. Though she is willing to subject herself to "refinement" lessons, she still has a high old time puncturing the pretensions of those around her: when aristocratic Ivan Valadov (Ivan Lebedeff) haughtily announces that he is the backbone of his family, West gives him the once-over and replies "Then your family'd better see a chiropractor." Through the connections of her husband-by-convenience Fletcher Colton (Monroe Owsley), Cleo is able to move freely among the glitterati of Southhampton but is forced to rely on her tried-and-true "street smarts" when she crosses swords with haughty villainess Grace Brittony (Marjorie Gateson) at a Buenos Aires race track. Through it all, aristocratic British engineer Edward Carrington (Paul Cavanaugh) awaits the opportunity to claim Cleo for his own -- as if anyone could ever "own" our fiercely self-reliant heroine. The film's highlight is a society operatic gala, in which Mae West delivers a serious (and most effective) rendition of "My Heart at Thy Still Voice" from Samson and Delilah. In a more characteristic vein, the star gets down and dirty (well, at least semi-dirty) with "He's a Bad Bad Man, But He's Good Enough for Me." ~ Hal Erickson, All Movie Guide

Spunky Joan Blondell is practically the whole show in the diverting comedy Good Girls Go to Paris. Blondell is cast as ambitious college-campus waitress Jenny Swanson, who yearns to see the sights in Gay Paree. She gets her chance by latching onto British exchange professor Ronald Brooke (Melvyn Douglas), who is en route to the City of Light. Once she sets foot on French soil, Jenny proves the veracity of the film's title by straightening out the wayward family of dyspeptic millionaire Olaf Brand (Walter Connolly)-though for a while it looks as though she's a "bad girl", merely out to take the Brands for every penny they've got. In later years, Joan Blondell ruefully recalled that the film's original title was Good Girls Go to Paris Too, but the Hays Office nixed that harmlessly suggestive monicker. ~ 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

William Powell and Myrna Loy re-team for this (literally) crazy screwball comedy about a happily married couple who, thanks to a visit from mother, find their marriage on the rocks and the husband committed to a mental institution. Poised to celebrate their fourth wedding anniversary, Steven (William Powell) and Susan Ireland (Myrna Loy) find their domestic bliss shattered by a visit from Susan's mother (Florence Bates). Susan's mother sprains her ankle and extends her visit, just in time to draw the wrong conclusions when her son-in-law pays a friendly visit to his old girlfriend Isobel (Gail Patrick). Susan's mother eavesdrops and reports it all to Susan, who in a jealous rage tries to make Steven jealous. But she winds up being chased through the hallway of her apartment building by half-naked archery enthusiast Ward Willoughby (Jack Carson). The couple agree on a divorce, but Steven then has second thoughts. On the advice of his lawyer, George Renny (Sidney Blackmer), Steven pretends he is insane, since the law prohibits Susan from divorcing him if Steven is mentally ill. Unfortunately, Susan is wise to his charade and has him committed to an asylum. ~ Paul Brenner, All Movie Guide

This final entry in Warner Bros.' Nancy Drew series is the only one actually based on a novel by Nancy Drew creator Carolyn Keene. Bonita Granville returns as the ebullient titular teenaged sleuth, while Frankie Thomas portrays Nancy's best friend and fellow "gumshoe" Ted Nickerson. The plot concerns a bizarre codicil in a will, requiring two elderly sisters to spend every night in their family mansion over a period of 20 years in order to lay claim to the crumbling old house. The ladies plan to contribute their legacy to a local children's hospital, but certain sinister forces in town hope to erect a racetrack where the mansion presently stands. When the sisters' chauffeur is murdered, Nancy and Ted investigate, even though Nancy's attorney father, Carson Drew (John Litel), has expressly forbidden them to do so. Their tremulous journey through the cellar of the mansion leads to a surprising revelation -- and, very nearly, to a watery grave. Arguably the best of the series, Nancy Drew and the Hidden Staircase moves along at so fast a clip that the audience is left nearly as breathless as the heroine. ~ Hal Erickson, All Movie Guide

A remake of 1932's Guilty as Hell, Night Club Scandal also borrows a page from 1934's Murder at the Vanities by depicting the "friendly adversary" relationship between a reporter (Lynne Overman) and a cop (Charles Bickford). Top-billed John Barrymore plays a respectable doctor married to a nightclub singer (Evelyn Brent), who murders his wife and frames the victim's lover for the crime. Overman and Bickford spot holes in Barrymore's story, bringing him to justice by Reel Seven. The murder plot is standard stuff, but the main attraction of Night Club Scandal is the aggressively masculine love/hate byplay between tipsy Lynne Overman and flint-eyed Charles Bickford. The best moment occurs at the end, when the wide-eyed ingenue (Louise Campbell) doesn't marry the fellow the audience expects her to! ~ Hal Erickson, All Movie Guide