Jack Cheatham Movies

Also known as A Miracle Can Happen, On Our Merry Way is a multipart comedy linked by inquiring reporter Burgess Meredith. It is Meredith's job to interview several people, asking them what effect children have had on their lives. First he checks with two itinerant musicians (James Stewart and Henry Fonda), who earn extra under-the-counter money by fixing a music contest so the mayor's son will win. Next he meets Hollywood extras Dorothy Lamour and Victor Moore, who are hired to work with a precocious child star. Finally, the old "Ransom of Red Chief" twist is given to the tale of hoboes Fred MacMurray and William Demarest, who find themselves at the mercy of a preteen prankster, whose wealthy uncle (Hugh Herbert) won't take the kid back unless the hoboes pay him. Meredith returns to the newspaper office with a black eye, which earns him the sympathy and affection of coworker Paulette Goddard. Though the direction is credited to Leslie Fenton, portions of On Our Merry Way were actually directed (sans credit) by George Stevens and King Vidor. ~ Hal Erickson, Rovi

One of the many Bowery Boys movies, in this one Slip and Sach are mistaken for two private investigators and risk their lives trying to solve a missing persons mystery. ~ Tana Hobart, Rovi

Robert Lowery stars as Paul Kimberly, a former newspaperman who takes on a particularly noxious form of corruption. The villains are crooked housing administrators who prey upon returning GIs and their families. Just when it appears that one of the administrators is going to tell all to Kimberly, the man is murdered at the behest of "top man" Vincent Arnold (Charles Evans). It helps Kimberly's objectivity not at all when he himself falls in love with Arnold's innocent daughter Anne (Anabel Shaw). With the advantage of a topical storyline, Killer at Large is one of the better PRC releases from this period. ~ Hal Erickson, Rovi

Olivia De Havilland, with the assistance of some eye-popping special photographic effects, plays twins in The Dark Mirror. One twin commits a murder: The "good" twin is blamed, but provides no alibi in her own defense, since she can't believe that the "bad" twin is guilty. Psychologist Lew Ayres and detective Thomas Mitchell try to get to the truth, a task made difficult by the bad twin's habit of imitating her sister to perfection. Ayres solves the mystery and sorts out which twin is which, but not before nearly ending up on a slab in the morgue himself. Based on a novel by Vladimir Pozner (the same), The Dark Mirror was remade for television in 1984, with Jane Seymour in the lead--er, leads. ~ Hal Erickson, Rovi

Art critic and forgery expert George Steele (Pat O'Brien) is apprehended by the police as he desperately tries to break into the Manhattan Museum in the opening scene of Crack-Up, a noir mystery directed by Irving Reis. Steele does not understand his own bizarre actions, but explains that he was in a train wreck and had to get back to the museum. Questioned by Lt. Cochrane (Wallace Ford), who tells him there have been no train wrecks in months, Steele relates, in flashback, the events leading up to the incident. Earlier in the day the head of the museum had suspended him for alienating wealthy patrons by criticizing "art snobs" in a lecture. He then received a phone call informing him that his mother was sick, and caught the train to the hospital, but never got there. Though suspicious of Steele, Cochrane is persuaded by the shadowy Mr. Traybin (Herbert Marshall) to release him so he can follow Steele. The next day Steele retraces his steps and discovers that someone had set him up to be discredited, though he knows neither who nor why. Following the murder of a friend who was trying to help him, he discovers that forgeries of some very famous paintings are at the heart of the matter, but getting to the culprit is a more difficult task. ~ Steve Press, Rovi

Deadline at Dawn represented not only the sole film directorial effort of Broadway's Harold Clurman, but also the only cinematic collaboration between Clurman and his former Group Theatre associate, screenwriter Clifford Odets. While on shore leave in New York, sailor Alex (Bill Williams) is slipped a doped-up drink by B-girl Edna (Lola Lane). When he awakens, Alex discovers that she has been murdered. Though he believes that he's the killer, our hero is talked into locating the actual miscreant by philosophical cab driver gus (Paul Lukas) and nightclub dancer June (Susan Hayward). Adapted from a novel by Cornell Woolrich, Deadline at Dawn leans towards pretentiousness at times, but is redeemed by the no-nonsense performance by Susan Hayward. ~ Hal Erickson, Rovi

A would-be nightclub entertainer finds her life jeopardized after she inadvertently witnesses a gangland murder while heading for an audition. Fortunately, a brave photographer is there to save her and this crime drama ends on a happy note. ~ Sandra Brennan, Rovi

John Brickley (Robert Montgomery) believes in PT boats, and as a lowly U.S. Navy lieutenant stationed in the Philippines, that makes him a radical thinker. "Your boats maneuver beautifully," an admiral (Charles Trowbridge) tells him, "but if I'm going into combat, I prefer something a little more substantial." The gently delivered but stinging dismissal stirs the resentment of Lt. "Rusty" Ryan (John Wayne), who tartly tells Brickley that he wants to be transferred to destroyers. The Pearl Harbor bombing makes transfer impossible, especially with the Japanese preparing to invade the islands. So Brickley and Ryan go to work, first as message carriers between the Philippines and Corregidor, then, finally, as ship hunters. They record some successes, but it's a doomed effort: The Americans are hopelessly outnumbered by the Japanese, and with almost all of the Pacific Fleet destroyed at Pearl Harbor, they know help won't arrive to save them. As the Japanese push the U.S. forces back, Brickley and Ryan and their crews hop from island to island, scrounging supplies and taking casualties but keeping up the fight. Just as it appears that they will be forced to fight on Corregidor against the Japanese, they get rescued; they're ordered home to promote their PT-boat successes, and they take the last plane out, hoping to return and avenge their defeats. ~ Nick Sambides, Jr., Rovi

Flight for Freedom was an "a clef" version of the Amelia Earhart story. Rosalind Russell plays the Earhart-like aviatrix Tonie Carter, who spends the early part of the film fighting against the aviation industry's prejudice against woman pilots. Tonie establishes a reputation as "the Lady Lindbergh", setting flight records on a near-weekly basis. Along the way, she falls in love with an agreeable flying ace (Fred MacMurray), much to the dismay of her conservative flight instructor (Herbert Marshall). The film's ending expands on speculation regarding Amelia Earhart's disappearance during a 1937 flight; Tonie Carter flies off on a secret mission to aid the Pacific war effort, then vanishes before completing her task. Flight for Freedom was produced for RKO by Floyd Odlum, whose wife Jacqueline Cochran was herself a renowned aviatrix. ~ Hal Erickson, Rovi

Granite-jawed Jack Holt plays himself-or at least the screen version of "himself"-in the 15-chapter Columbia serial Holt of the Secret Service. To get the goods on a counterfeiting ring, federal agent Holt poses as master criminal Nick Farrel. The villains swallow this ruse hook, line and sinker, making one wonder how they ever had the intellectual capacity to flood the US with funny money. Aided and abetted by fellow agent Kay (Evelyn Brent), who poses as "Mrs. Farrel", Holt endures numerous brushes with death, emerging from all of them with nary a hair out of place nor a crease in his well-tailored business suit. As usual, director James W. Horne injects several moments of zany comedy in the proceedings: at one point, the villains receive a valuable piece of information, whereupon they all shout "Hooray" in unison! A less intentionally amusing aspect of the film is that neither Jack Holt nor Evelyn Brent change their clothes during the serial's 4-hour length, leading one to assume that the other cast members had lost their sense of smell. ~ Hal Erickson, Rovi

Director William "One Take" Beaudine puts his all-character-actor cast through their paces in Men of San Quentin. J. Anthony Hughes plays a prison guard who tries to put new reforms into effect when he becomes a warden. Naturally, Hughes' efforts are undercut by a handful of hardbitten cons and jealous fellow guards. His efforts pay off when Hughes is able to quell a prison riot. Men of San Quentin was produced and cowritten by Martin Mooney, a former newspaperman who'd actually "done time" behind bars; its opening theme music was performed by the San Quentin orchestra! ~ Hal Erickson, Rovi

The first of director Frank Capra's independent productions (in partnership with Robert Riskin), Meet John Doe begins with the end of reporter Ann Mitchell's (Barbara Stanwyck) job. Fired as part of a downsizing move, she ends her last column with an imaginary letter written by "John Doe." Angered at the ill treatment of America's little people, the fabricated Doe announces that he's going to jump off City Hall on Christmas Eve. When the phony letter goes to press, it causes a public sensation. Seeking to secure her job, Mitchell talks her managing editor (James Gleason) into playing up the John Doe letter for all it's worth; but to ward off accusations from rival papers that the letter was bogus, they decide to hire someone to pose as John Doe: a ballplayer-turned-hobo (Gary Cooper), who'll do anything for three squares and a place to sleep. "John Doe" and his traveling companion The Colonel (Walter Brennan) are ensconced in a luxury hotel while Mitchell continues churning out chunks of John Doe philosophy. When newspaper publisher D.B. Norton (Edward Arnold), a fascistic type with presidential aspirations, decides to use Doe as his ticket to the White House, he puts Doe on the radio to deliver inspirational speeches to the masses -- ghost-written by Mitchell, who, it is implied, has become the publisher's mistress. The central message of the Doe speeches is "Love Thy Neighbor," though, conceived in cynicism, the speeches strike so responsive a chord with the public that John Doe clubs pop up all over the country. Believing he is working for the good of America, Cooper agrees to front the National John Doe Movement -- until he discovers that Norton plans to exploit Doe in order to create a third political party and impose a virtual dictatorship on the country. The last of Capra's "social statement" films, Meet John Doe posted a profit, although Capra and Riskin were forced to dissolve their corporation due to excessive taxes. ~ Hal Erickson, Rovi