Virginia Cherrill Movies

The Charlie Chaplin outtakes in this documentary that was first shown at the 1983 Venice film festival kept the audience at that time laughing -- and hoping that similar finds might be made in the future. In Part I, takes from the years 1916-17 are shown including variations on a theme in The Cure. In Part II, Chaplin and his guest Sir Harry Lauder (the famous vaudevillian) exchange costumes and identities as each mimic the other for a home-movie segment, there are also some interviews with Chaplin co-stars, and an alternate ending to the Gold Rush. In Part III, there are vignettes that were dropped from City Lights and Modern Times that -- judging from the hilarity they evoked at the 1983 opener -- merit their own showing any time. ~ Eleanor Mannikka, All Movie Guide

In this drama, a cub reporter from the Daily Gazette attempts to catch a bank robber. He is assisted by a woman who wants to provide him with valuable information. Unfortunately she is killed before he can meet with her. The reporter eventually finds the crook, catches him and sends him to the police. ~ Sandra Brennan, All Movie Guide

In this melodrama filmed on location in Hawaii, a sugar plantation manager finds himself falling in love with a native girl, but instead of committing to her, he marries a socially prominent young woman from San Francisco. The spoiled girl does not easily adapt to the rigors of plantation life and she gets terribly bored. She is just about to give in to the romantic overtures of a persistent native when her former lover shows up. The husband gets jealous and is about to attack him when the wife sets fire to the cane field. The husband's native lover saves him from death. Afterward, his wife leaves to be with her old flame, and the manager is free to be with the woman he's loved all along. ~ Sandra Brennan, All Movie Guide

Ray Walker plays Jimmy Case, a combustible young man who loses one job after another because he can't keep his fists to himself. On the verge of losing his girl friend Grace (Dorothy Granger), Walker agrees to hold his temper and try once more. He lands a job as a process server, only to find out that his first assignment is to serve a summons to equally temperamental nightclub singer Eleanor Rogers (Virginia Cherrill, best remembered as the blind flower girl in Chaplin's City Lights). For an early Monogram film, this one is surprisingly high-budgeted, with a particularly impressive cabaret set. Scripted by a very young Dore Schary, He Couldn't Take It was remade three times, most famously as the 1946 "Bowery Boys" series entry Live Wires. ~ Hal Erickson, All Movie Guide

This story centers around a love triangle between two construction workers and a girl. The film climaxes with a fight on top of a skyscraper. The story is based on a play called Rivets. ~ Sandra Brennan, All Movie Guide

Warner Oland returns as wily, philosophical oriental detective Charlie Chan in this expensive-looking series entry. This time, Chan follows the trail of clues when a "respectable" Honolulu businessman sidelining in blackmail and other unsavory activities is murdered. Like the earlier Black Camel, the film was made virtually in its entirety in Hawaii, save for a brief expository scene in San Francisco. Alas, this is one of four "Chan" films that apparently no longer exist, but stills and existing publicity material indicate that it was an elaborate production, faster-paced than usual, with Heather Angel attractively garbed in a swimsuit in most of her scenes. A few outtakes of Charlie Chan's Greatest Case were preserved for a Fox Studios "blooper" reel, showing Warner Oland reacting in hilarious rage as he muffs his lines. ~ Hal Erickson, All Movie Guide

Delicious represents the first time that George and Ira Gershwin ever wrote a musical score exclusively for the screen. Unfortunately, the film fails to come up to the standards set by the music, though it's not from lack of trying. Janet Gaynor stars as Heather Gordon, a poor Scotch immigrant who dreams of relocating to the United States. Her aspirations are confounded by the intractability of the customs inspectors, who are bound and determined to send Heather back whence she came. In the meantime, she takes up residence in a rooming house catering to immigrants, where the other tenants -- especially comic-relief Swede Jansen (El Brendel) -- work overtime to cheer her up. All ends happily when American millionaire Jerry Beaumont (Charles Farrell) proposes marriage, despite his family's objections. The musical numbers include the overly coy title tune, a bizarre "Welcome to America" setpiece in which Heather dreams that she's being greeted by a singing Statue of Liberty, and a virtually complete performance of Gershwin's Second Rhapsody (aka The New York Rhapsody). The film's highlight, however, is El Brendel's rendition of the Blah Blah Blah song, in which he itemizes every love-song cliché known to man. ~ Hal Erickson, All Movie Guide

Charles Chaplin was deep into production of his silent City Lights when Hollywood was overwhelmed by the talkie revolution. After months of anguished contemplation, Chaplin decided to finish the film as it began--in silence, save for a musical score and an occasional sound effect. Once again cast as the Little Tramp, Chaplin makes the acquaintance of a blind flower girl (Virginia Cherrill), who through a series of coincidences has gotten the impression that the shabby tramp is a millionaire. A second storyline begins when the tramp rescues a genuine millionaire (Harry Myers) from committing suicide. When drunk, the millionaire expansively treats the tramp as a friend and equal; when sober, he doesn't even recognize him. The two plots come together when the tramp attempts to raise enough money for the blind girl to have an eye operation. Highlights include an extended boxing sequence pitting scrawny Chaplin against muscle-bound Hank Mann, and the poignant final scene in which the now-sighted flower girl sees her impoverished benefactor for the first time. Chaplin's decision to release the silent City Lights three years into the talkie era was partially vindicated when more than one critic singled out this "comedy in pantomime" as the best picture of 1931. ~ Hal Erickson, All Movie Guide