Jimmy Conlin Movies

In this rough-and-tumble action comedy, Chuck Connors (Wallace Beery) and Steve Brodie (George Raft) are friendly rivals on New York's Bowery in the 1890s. Connors owns a fancy tavern and looks after a streetwise kid named Swipes McGurk (Jackie Cooper), while Brodie is a daredevil willing to do nearly anything to get the better of Connors. When both men fall in love with Lucy Calhoun (Fay Wray), who has fallen on hard times, Brodie takes her under his wing and helps get her back on her feet. Connors is furious that his rival has won her heart, so he goads Brodie into doing something spectacular to prove his love for her -- jumping off the Brooklyn Bridge, for example. Reckless but not stupid, Brodie has no intention of making the jump and plans to use a dummy instead, but when Connors and his henchmen show up to make sure that Brodie doesn't back down, the dare is turned into a wager, and Brodie emerges the new owner of Connors' bar after successfully making the jump. In real life, George Raft and Wallace Beery were not nearly so friendly as their characters: Raft persuaded director Raoul Walsh to hire a number of his underworld cronies as extras, which irritated Beery no end. When the two actors had a fight scene, Beery refused to hold back, and the staged fistfight quickly turned into a for-real battle royale. ~ Mark Deming, All Movie Guide

A midwestern girl heads for Hollywood in hopes of becoming a star. She is accompanied by two good buddies and this comedy chronicles their adventures in Tinseltown. It all begins when the new arrivals enroll in a bogus acting school run by two con artists. A wealthy entrepreneur shows up looking to invest his money. One of the greedy grifters persuades him into financing a film starring the new girl from Peoria, but he gives one condition to the businessman: if the film fails, the conman gets to keep the money. To insure failure, the fellow hires a washed up boozer of a director. The director takes the job seriously and wants to prove that he is not a has-been. This doesn't set well with the "producer" who has his partner take the starlet to a remote cabin and leave her stranded after he gets drunk and passes out. By this time, the director has fallen in love with the girl. Meanwhile, her buddies have found that they'd rather go home and resume their old jobs. The director begins looking for the girl so he can save her and his career. Her buddies hear of her predicament and they too rush to her rescue. It is they who return her safe and sound to the studio. The director makes his film and it is a smash hit. The girl becomes a star and the conmen go to jail. ~ Sandra Brennan, All Movie Guide

It was standard operating procedure at MGM to cast their favorite singing team of Nelson Eddy and Jeanette MacDonald in new versions of old operettas, then retain only the music, drastically altering the plotlines to conform to popular tastes. This was the treatment afforded the Rudolf Friml-Herbert Stothart-Oscar Hammerstein-Otto Harbach musical Rose Marie--and thank heaven that MGM decided to jettison the original's creaky libretto about a woman who offers her body to the villain to save the hero from a trumped-up murder charge (this chestnut seemed old-fashioned even in 1928, when Joan Crawford starred in the silent version). In lieu of this wearisome storyline, the Eddy-MacDonald version casts MacDonald as a spoiled, temperamental Canadian opera star who learns that her uncontrollable brother (James Stewart), serving a prison sentence, has escaped to a cabin in the North Woods and needs someone to tend his wounds. MacDonald travels to northern Canada incognito, where in a hilarious sequence she tries and fails to pass muster as a dance-hall girl. Upon meeting likeable mountie Nelson Eddy, who unbeknownst to her has been assigned to locate her brother, MacDonald fabricates a story about needing an escort for a rendezvous with her lover. Such latter-day parodies as Dudley Do-Right notwithstanding, the Eddy-MacDonald sequences are often deliberately played for laughs, even when Nelson is uttering such lines as "Heavy? Why, I could carry you for hours!" Gradually, Nelson and MacDonald fall in love, only to fall out of love when Nelson tracks down and captures MacDonald's brother. Despite this rift, a happy--and logical--ending is not long in coming. It might be hard to watch such Eddy-MacDonald duets as "Rose Marie" and "Indian Love Call" with a completely straight face; it is reassuring, however, to find out that the filmmakers knew that "Rose Marie" was ripe for ridicule, and decided to laugh at themselves first in order to disarm the audience. To avoid confusion with the 1955 remake, the 1936 Rose Marie was retitled Indian Love Call for TV showings. ~ Hal Erickson, All Movie Guide

After It Happened One Night, Claudette Colbert seemed to make a career out of playing plucky heiresses with minds of their own, which sums up her character well in this romantic comedy. When her wealthy father goes broke, Jeanette Desmereau (Claudette Colbert) decides she should find a job of her own, applying for work as a writer at a magazine edited by hot-headed Cyrus Anderson (Fred MacMurray). Jack Bristow (Robert Young), one of the staffers, tells Cyrus about Jeanette's misfortunes, and while he's not initially swayed by this tale of woe, Cyrus buckles under and hires her, primarily because Jack has lobbied strongly for her (which might have something to do with the fact he finds her attractive). While Jeanette and Cyrus don't get along well at first, when the irresistible force meets the immovable object, something has to give and before long the two fall in love. Cyrus and Jeanette make tentative plans to marry, but when Jeanette decides to do Cyrus a favor and clean up his very sloppy bachelor apartment, Cyrus becomes furiously angry and calls off the wedding. After this, Jeanette is just as angry with Cyrus and Jack, waiting in the wings, steps in; she impulsively decides to marry Jack, and they hit the road for Indiana for a date with the Justice of the Peace. Cyrus realizes just how big a mistake he has made, and points his motorcycle toward Indiana to stop the marriage before it's too late. ~ Mark Deming, All Movie Guide

In this backwoods musical, two feudin' families provide the basis of the action. The tale begins as the head of one family asks his son to marry the daughter of the other to bring peace. Unfortunately the son knows that it is his brother that really loves the girl and so takes off. The travelin' son has many adventures as he suffers from a rare condition that causes him to lose his memory every time he is struck upon the head. The only way he can regain it is to be splashed with water. While in one of his phases, he meets and falls in love with a young woman until he encounters water; he then forgets all about her and their romance. Romantic mayhem ensues until the whole mess is straightened out. Songs include: "If I Put My Heart in a Song," "Can't You Hear That Mountain Music?" "Thar She Comes," "Hillbilly Wedding," "Good Morning," and "Mama Don't 'Low No Bull Fiddle Playin' in Heah" ~ Sandra Brennan, All Movie Guide

In their third crime-solving adventure, smart-aleck newspaper woman Torchy Blane (Glenda Farrell) and slightly dense homicide dick Steve McBride (Barton MacLane) are about to get hitched when Torchy's reporter friends pull a practical joke on them. As a wedding present, the harebrained newsboys hire a stage actor, Harvey Hammond (Leland Hodgson), to simulate a murder victim. But when Torchy and Steve arrive at the scene of the supposed crime, Hammond has been killed for real. Suspects, of course, abound, including Hammond's fellow thespians Hugo Brand (Anderson Lawlor) and Grace Brown (Anne Nagel), whose romance the actor had tried to destroy. Even more suspicious to Torchy are Hammond's long-suffering wife (Virginia Brissac), and his socialite mistress (a surprisingly brunette Natalie Moorhead). With little help from Steve and his even dumber sergeant, Gahagan (Tom Kennedy), Torchy sets a trap for the killer. Produced by Warner Bros.'s busy B-unit, The Adventurous Blonde was acted at breakneck speed by a justly famous stock company, who, as always, nearly managed to make a hackneyed plot seem fresh and new. Torchy herself was ostensibly based on reporter Dorothy Kilgallen and had begun her crime-solving career in Smart Blonde (1937). Eight more Torchy films were made, but Farrell and MacLane were replaced by Lola Lane and Paul Kelly in Torchy in Panama (1938), the seventh entry, and by Jane Wyman and Allen Jenkins in the final, Torchy Plays With Dynamite (1939). By then, then series had more than run its course. ~ Hans J. Wollstein, All Movie Guide

Paramount's final "Big Broadcast" musical had perhaps the least exciting musical lineup of the series (Tito Guizar, The Shep Fields Orchestra, and opera singer Kirsten Flagstad are hardly household names today), but a slightly stronger storyline than the others, as well as a top-notch comic cast. This time out, most of the action takes place as sea, as S.B. Bellows (W.C. Fields) shows off his new invention: an ocean liner that can turn radio signals into electricity and part the waves at 100 miles per hour. He challenges another ship to a race while a number of music and comedy acts appear in the ship's showroom. Along with Fields, who performs several classic pool and golf routines, Martha Raye, Dorothy Lamour, and Ben Blue add to the laughs; Bob Hope made his feature debut here, and he even sings his future theme song, "Thanks for the Memories". ~ Mark Deming, All Movie Guide

A reporter becomes an amateur sleuth to solve the mystery surrounding the death of a magician's wife and a few others. The trouble began while the magician performed his daring escape act at a coastal resort and it is the clever reporter who figures out how the crimes were committed. ~ Sandra Brennan, All Movie Guide

Despite the presence of Busby Berkeley in the director's chair, Comet Over Broadway contains nary a single musical number. Instead, the film concentrates on the lachrymose private life of stage star Eve Appleton (Kay Francis). While appearing in amateur theatricals, Eve indirectly causes the death of a fellow actor at the hands of her husband Bill (John Litel). When Bill is thrown into jail, Eve goes on the road, appearing in one cheap stock company after another to earn enough money for her husband's parole. Seven years pass, during which time Eve becomes the toast of Broadway. Falling in love with playwright Bert Ballin (Ian Hunter), Eve almost forgets the reason that she climbed to stardom in the first place, but by the final reel she elects to give up personal happiness to remain loyal to her incarcerated husband. Way, way down the cast list of Comet Over Broadway is Linda Winters, who as Dorothy Comingore achieved stardom in Orson Welles'Citizen Kane (1941). ~ Hal Erickson, All Movie Guide

Shirley Ross plays an innocent young girl convicted for complicity in a crime committed by her boy friend (Lloyd Nolan). The male crook is sentence to six months on a prison farm populated by both men and women (segregated, of course). Ross is also incarcerated, suffering the cruelties of the sadistic male and female guards (including J. Carroll Naish and future "Ma Kettle" Marjorie Main!) Since this film leaves no cliche unturned, an escape attempt is inevitable, but Ross is ultimately rescued from her plight for the obligatory happy ending. Nowhere near as exploitive as the later Linda Blair films of the same ilk, Prison Farm was considered reasonably realistic in 1938, earning back its modest cost and then some. ~ Hal Erickson, All Movie Guide

With Glenda Farrell having temporarily taken leave of Warner Bros., the actress' signature role of fast-talking girl reporter Torchy Blane was taken over by Lola Lane in Torchy Blane in Panama. Also absent from the proceedings is Barton MacLane as Torchy's loudmouthed police-lieutenant boyfriend Steve McBride; he's been replaced by Paul Kelly, who is frankly better in the role. The plot takes flight when a New York fraternal convention is interrupted by a daring bank robbery. Hoping to crack the story and outscoop her rival newshounds, Torchy Blane heads to Panama by plane, parachute and ocean liner. She manages to beat the other reporters to the punch, and to capture the mastermind of the robbery, with the surprisingly able assistance of McBride's dum-dum sergeant Gahagan (Tom Kennedy). Lola Lane is adequate as Torchy, but there was only one Glenda Farrell. ~ Hal Erickson, All Movie Guide

The legendary Cocoanut Grove nightclub is the setting for this all-star Paramount musical. Fred MacMurray heads the cast as Johnny Prentice, a small-time bandleader who heads to the Grove for an all-important audition. He is accompanied by his foster son Half-Pint (Billy Lee), a talented drummer in his own right. Joining the troupe is Linda Rodgers (Harriet Hilliard), ostensibly Half-Pint's tutor but actually an aspiring vocalist. The thinnish plot serves as an excuse for an unending stream of specialty numbers featuring Royal Hawaiian orchestra leader Harry Owens, comedian Ben Blue, the zany Yacht Club Boys (a WASP version of the Ritz Brothers), funny-noise specialist Rufe Davis and bandmaster Red Stanley. In the course of events, nine new original songs are performed, none of which graduated to hit-parade status. Curiously, the real Cocoanut Grove is never seen, though the Paramount mockup is reasonably convincing. ~ Hal Erickson, All Movie Guide