Mae Clarke Movies

In this western, a polo-playing free-loader convinces a farmer to take him in; the cad then proceeds to take advantage of the farmer's daughter. But when a Realtor begins threatening to repossess the farmer's land, the lazy leech gets involved. In the end, he stops a fire from destroying the homestead and is rewarded by the young daughter's love and devotion. ~ Sandra Brennan, All Movie Guide

After retiring from a boxing career, Johnny Cave (James Cagney) accepts an appointment to serve as head of the Bureau of Weights and Measures. However, when he discovers that his organization is full of corruption and lies, he sets out to uncover the scam, much to the dismay of his girlfriend, Janet (Mae Clarke), and his underhanded coworkers. ~ Iotis Erlewine, All Movie Guide

The Silk Hat Kid is Lew Ayres, a babyfaced gangland "torpedo." Circumstances force the Kid to hole up in a slum settlement house, where priest William Harrigan puts him to work as a boxing instructor. The Kid begins to reform, and falls in love with tenement girl Mae Clarke. When rival Paul Kelly shows up, the Kid has the urge to kill, but Father Harrigan orders the two men to settle their differences in the ring. The Silk Hat Kid is handicapped by the miscast Lew Ayres, but it serves as an interesting precursor to the Dead End Kids school of filmmaking which became popular towards the end of the '30s. ~ Hal Erickson, All Movie Guide

In this handsomely-staged adaptation of the story by Emile Zola, Anna Sten plays Nana, a woman of the streets who is spotted by noted theatrical producer Gaston Greiner (Richard Bennett). Greiner is so impressed by Nana's beauty that he gives her a part in his latest revue. Almost overnight, Nana is the toast of Paris and a star of the highest magnitude; however, fame and fortune brings her little happiness, as two brothers, Lt. George Muffat (Phillips Holmes) and Col. Andre Muffat (Lionel Atwill), both vie for her affections, leading to a bitter rivalry that ends in tragedy. Russian actress Anna Sten was brought to America as a protégé of producer Samuel Goldwyn, who sought to make Sten the "next Garbo." The resounding box office failure of Nana and Sten's next two vehicles led Goldwyn to drop her contract two years after bringing her to Hollywood, though she continued to work sporadically in films for another 25 years. ~ Mark Deming, All Movie Guide

This Side of Heaven is an early, muted example of what would refine itself into the "screwball comedy" genre. Lionel Barrymore plays an accountant, who's also the head of a large family consisting principally of dizzy buffoons. Not only that, but the Barrymore clan is selfish, totally unappreciative of Dad's efforts in their behalf. But when Barrymore is falsely accused of embezzlement, the family members rally to his aid and prove their hidden worth. Amazingly, all the problems in This Side of Heaven are ironed out within a 24-hour span (and 78 minutes' screen time). ~ Hal Erickson, All Movie Guide

With William Boyd in the cast, one would think that Flaming Gold was a "Hopalong Cassidy" western -- and one would be wrong. Boyd and Pat O'Brien play Dan Manton and Ben Lear, wildcat oil men at large in Mexico. Dan and Ben continually run afoul of a powerful oil cartel, determined to put our heroes out of business. Meanwhile, the two buddies fall out over the affections of good-time Claire Arnold (Mae Clarke) who marries Dan. A "big gusher" climax caps Flaming Gold, which had it been made 10 years later would probably have been produced by Pine-Thomas Productions with Richard Arlen, Chester Morris and Jean Parker in the cast. ~ 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

We first lay eyes on Jimmy Cagney in Lady Killer while he's working as a movie theater usher. This job lasts just long enough for Jimmy to be swindled in a "badger game" orchestrated by hard-boiled Mae Clarke and a gang of crooks headed by Douglass Dumbrille. Knowing a good thing when he sees it, Cagney joins the mob, and soon is calling the shots. But though he's got larceny in his soul, Cagney draws the line at murder, and when gang member Raymond Hatton is bumped off, Cagney and Clarke board the Super Chief and head to California. With the cops laying for Cagney in LA, he's suspicious of everyone. A shifty-looking mug (William B. Davidson) takes after Cagney on the street; catching up to the winded Cagney, the mug explains that he's a movie director, and that Cagney is a perfect "type" for an upcoming prison picture. After several months as a bit player, Cagney befriends good-natured movie-star Margaret Lindsay, who encourages Cagney to seek out bigger parts. The enterprising Cagney engineers a phony fan-mail campaign encouraging the studio to give him starring roles. Though now a slick, pomaded romantic lead in pictures, Cagney is still Cagney; when a snooty critic pans Lindsay's most recent performance, Cagney forces the reviewer to literally eat his words! It must needs be that Cagney's old gang shows up in Hollywood, planning to use Cagney's influence to gain entree into movie stars' mansions, then steal their valuables. Cagney says ixnay to this, so the mob schemes to take him for a ride. Tipped off by Clarke, Cagney is able to rout the crooks, save the day, and claim Lindsay for his bride. Lady Killer is vintage Cagney, throwing virtually every one of his star-making attributes (including one cute reference to his legendary "grapefruit scene" in 1931's Public Enemy) into one entertaining 76-minute stew. ~ Hal Erickson, All Movie Guide

Lee Tracy is a middle-aged, middle-class man dissatisfied with his life. If he'd only married the girl he wanted to and had been a smarter businessman (he believes), things would have been better. One morning, Tracy wakes up and discovers he's been transported twenty years in the past. Armed with foreknowledge of future events, Tracy determines to correct his mistakes and become what he considers a success. "Be careful what you wish for," goes the old saying. "You just might get it." Tracy comes to regret his "new" life and yearns for things to go back to normal--but will they? A truly imaginative fantasy, Turn Back the Clock is acted with conviction by everybody from star Lee Tracy to a trio of bit players (in the wedding sequence) who later called themselves The Three Stooges. ~ Hal Erickson, All Movie Guide

In this crime drama, a reporter pursues the crime lord in charge of laundering the town's dirty money. The new police commissioner vows to gather enough evidence to capture the head crook, who in turn murders the commissioner. Meanwhile, the intrepid reporter befriends the crime lord's assistant, tricks them both, and almost loses her life. Fortunately, her diligence pays off and she gets her great scoop. ~ Sandra Brennan, All Movie Guide

Lew Ayres and Mae Clarke, the reigning king and queen of the Universal lot in 1932, were teamed under the guidance of the studio's star director James Whale in Impatient Maiden. Anticipating his "Dr. Kildare" duties by nearly six years, Ayres is cast as inexperienced young surgeon Myron Brown. In love with Ruth Robbins (Mae Clarke), Dr. Brown is separated from his sweetheart thanks to clashing values (she wants to marry him; he doesn't think he can afford to, but still wants to fool around). They are brought together again under unusual circumstances when Ruth is stricken with acute appendicitis and Brown is obliged to operate, permitting Whale to indulge in his usual ghoulish fascination with surgical procedure. A few moments of comedy relief are offered by Una Merkel, as a dingbat Southern belle, and ratchet-voiced Andy Devine as a male nurse. ~ Hal Erickson, All Movie Guide

Night World is an astonishingly compact 57-minute extravaganza, all of which takes place at the upscale (but somewhat less-than-swank) nightclub owned by good-natured racketeer Happy MacDonald (Boris Karloff) (complete with a winning, grinning smile). In a story arc of no more than a couple of hours, MacDonald is betrayed by his faithless wife (Doris Revier), who has been cavorting with the club's stage producer (Russell Hopton), and who sets her husband up to be killed by a rival; the gentle, articulate African-American doorman (Clarence Muse) learns the fate of his beloved wife, whose stay in the hospital has been a source of worry for him all night; despondent socialite Michael Rand (Lew Ayres), the son of an acquitted murderess, meets chorus girl Ruth Taylor (Mae Clarke), who turns out to have a heart-of-gold; and gets to confront his mother (Hedda Hopper), a viciously self-centered and venal woman. But Michael and Ruth soon find themselves caught in the midst of the mob's attempt on Happy's life, and facing a pair of assassins who would just as soon kill them as look at them. All of these story threads are interspersed between a good deal of backstage banter -- including a tense pair of vignette with tough-guy Ed Powell (George Raft, about as scary as he ever looked on screen) -- and a Busby Berkeley-choreographed dance number that, despite the low-budget and obviously fast shooting schedule of this picture, manages to work in the latter's celebrated overhead camera angles and other requisite visual touches. ~ Bruce Eder, All Movie Guide

In this drama, a married couple who own a speakeasy aspire to go legitimate and open a gas station; unfortunately, they are perennially broke because the husband is addicted to gambling on the horses. Their situation makes them easy marks for a racketeer who uses the couple as a front. Fortunately, the couple overcome their weaknesses, save the needed money, and achieve their humble dream. ~ Sandra Brennan, All Movie Guide