Rita Corday Movies

Like so many other films that were once considered "lewd" and "scandalous", The French Line seems as harmless as Pollyanna when seen today. Essentially a remake of The Richest Girl in the World, the film stars Jane Russell as Mary Carson, an incredibly wealthy Texas oil heiress. Lucky in investments but unlucky in love, poor Mary can never keep a fiance: either they're fortune-hunters or they don't want to marry anyone so rich and powerful. Thus, while on an ocean voyage to France, Mary poses as the model of dress designer Annie Farrell (Mary McCarthy), hoping to attract a man who is interested in her for herself, and not her millions. That man turns out to be dashing stage star Pierre (Gilbert Roland), but there's many comic complications and misunderstandings before the happy ending. What shocked the censors in 1954 was Jane Russell's sizzling musical number "Lookin' for Trouble", in which she performed an uninhibited bump-and-grind while wearing nothing more than a seven-ounce glorified bikini. While Ms. Russell herself was offended by her skimpy costume, she saw nothing wrong with the dance itself, pointing out that she intended it as a parody of a "burleycue" number. The professional blue-noses disagreed, however: the film was condemned by the Catholic Legion of Decency and denied a Production Code Seal. Eventually, producer Howard Hughes got the Seal--along with a million dollars' worth of free publicity, which is what he intended all along. Filmed in 3D, The French Line is the film that was ballyhooed with the classically tasteless ad campaign "J.R. in 3D--It'll knock both your eyes out!" ~ Hal Erickson, All Movie Guide

You for Me stars Peter Lawford as a profligate playboy who's a nice guy underneath. After suffering a hunting accident which leaves him with a butt full of buckshot, Lawford is interred in the hospital that his donations have kept afloat. Nurse Jane Greer refuses to treat Lawford any better than any other patient, which of course makes him adore her all the more. Gig Young is once more the poor schlemiel who loses the girl--but this time Young deserves it, since he encourages Jane to make goo-goo eyes at Lawford so the donations will keep on coming (there's a word for that sort of thing where we come from, stranger). You for Me was directed by Don Weis, whose MGM films are often so lightweight that they're in danger of floating away. ~ Hal Erickson, All Movie Guide

Can it be that June Allyson is Too Young to Kiss in this bit of MGM fluff? Well, not really. Pianist Cynthia Potter (Allyson) is well into her 20s, but she's posing as a 14-year-old musical prodigy. It's part of her desperate effort to become a client of highly selective concert-promoter Eric Wainwright (Van Johnson), who is only hiring "young" performers. Wainwright falls for Cynthia's subterfuge, building a huge promotional campaign predicated upon his new protégé's "youth." He even adopts a fatherly attitude towards Cynthia, who would prefer that their relationship be a bit more intimate. Though it may seem to be a rehash of the 1943 comedy The Major and the Minor, Too Young to Kiss remains fresh and funny throughout, thanks to the script-writing know-how of Frances Goodrich and Albert Hackett. Ironically, Allyson was thirty-four when this film was shot. ~ Hal Erickson, All Movie Guide

Morgan Conway made his final screen appearance as Chester Gould's granite-jawed detective Dick Tracy in this RKO Radio programmer. This time around, Tracy's nemesis is baldheaded jewel thief Cueball, played with blunt menace by Dick Wessel. Double-crossed by his gang, Cueball methodically bumps them off. This would normally delight the cops, who'd been wanting to get rid of the gang anyway, but unfortunately Cueball has vowed to eliminate Tracy as well. The villain's ultimate demise is as good as anything cooked up by Chester Gould for the comic strips. Directed and written in the same larger-than-life style of the Gould original, Dick Tracy vs. Cueball features such colorful characters as Tracy's main squeeze Tess Trueheart (Anne Jeffreys), pill-popping ham actor Vitamin Flintheart (Ian Keith), waterfront hag Filthy Flora (Esther Howard) and jewelry shop proprietor Jules Priceless (Douglas Walton). For reasons that defy explanation, this delightfully daffy concoction was spotlighted in the notorious volume The Fifty Worst Films of All Time. ~ Hal Erickson, All Movie Guide

A loose remake of 1941's The Gay Falcon, The Falcon's Alibi is one of the better entries in RKO's "Falcon" series, and one of the few that can stand on its own merits as a "film noir." This time, amateur detective Tom Lawrence (Tom Conway), aka the Falcon, is hired by a wealthy woman's secretary to protect the lady's precious jewels. Nevertheless, the thief still manages to get away with them, which puts Lawrence hot on his trail. ~ Hal Erickson, All Movie Guide

Filmed extensively on location, The Falcon in San Francisco is one of the best of RKO Radio's "Falcon" series. This time around, amateur sleuth Tom Lawrence (Tom Conway), aka The Falcon, comes to the aid of 10-year-old Annie Marshall (Sharyn Moffet). While trying to solve the murder of Annie's nurse, Lawrence is accused of kidnapping the kid. Several beatings, warnings and murders later, Lawrence discovers that the solution of the mystery is tied in with a gang of silk smugglers, headed by none other than?.Oh, no! The surprise ending isn't going to be tipped off here! Director Joseph H. Lewis' occasional utilization of "cinema verite" techniques would later develop full-blown into such noir classics as Gun Crazy. ~ Hal Erickson, All Movie Guide

A journalist for a popular travel magazine goes looking for interesting stories in Latin America and finds love instead in this colorful musical. The love angle comes from her fiance who lives there, and from the dashing photographer who accompanies her. Included are many South American acts including flamenco dancers Rosario and Antonio. Songs include: "Ba-Ba-Lu" (Bob Russell, Marguerita Lecuna), "Stars in Your Eyes", "La Morine de Mi Copla" (Gabriel Ruiz, Mort Greene), "Rhumba Matumba" (Bobby Collazo, Greene), "Guadalajara" (Pepe Guizar, Greene), "Negra Leona" (A. Fernandez, Greene), and "Baramba" (Margarita Lecuona, Greene). ~ Sandra Brennan, All Movie Guide

This delightful entry in RKO Radio's "Falcon" series finds amateur Tom Lawrence (Tom Conway), aka The Falcon, tring to solve a series of Tinseltown murders. The killings all seem to be tied in with a "jinxed" movie production, supervised by neurotic studio executive Martin Dwyer (John Abbott). Accompanied by wisecracked lady cabbie Billie (Veda Ann Borg), Lawrence pokes around a studio backlot, gathering clues and grilling suspects all along the way. Could the murderer be pretty starlet Peggy Callahan (Barbara Hale), haughty prima donna Lili D'Alio (Rita Corday) or shady "businessman" Louie (Sheldon Leonard)? Filmed on such locations as the Hollywood Park race track and the Hollywood Bowl, The Falcon in Hollywood spends most of its time within the offices, sound stages, technical departments and walkways of the RKO Radio studio itself. The film was one of the most popular of RKO's "Falcon" efforts, posting a $115,000 profit. ~ Hal Erickson, All Movie Guide

When an instructor dies mysteriously at an exclusive girl's school, Tom Lawrence (Tom Conway), a devil-may-care sleuth known as "The Falcon," reluctantly agrees to investigate. The death appears to have been induced by a heart attack, but the instructor's roommate (Rita Corday) had predicted that the victim would be murdered. The school's dean (Barbara Brown) dies shortly afterward, and suspicion falls upon the fencing instructor (Jean Brooks), who'd been in line to inherit the school. Other suspects include a foreign psychology professor (George Givot), who'd once courted the fencing teacher, and a meek music teacher (Isabel Jewell), to whom the foreign prof is secretly married. The murderer is revealed in a heart-stopping climactic scene played out on a perilous cliff overlooking the ocean. The Falcon and the Co-Eds is the sixth film in RKO Radio's "Falcon" series. ~ Hal Erickson, All Movie Guide

Wally Brown and Alan Carney, RKO's prefab "answer" to Universal's Abbott and Costello, made their joint starring debut in Adventures of a Rookie. The boys play a couple of GIs on leave, who attend a party at a girls' boarding house. The fun begins when the house is quarantined during a scarlet fever epidemic, forcing our heroes to stay with their lovely hostesses indefinitely. Typical of the humor level is the following exchange: "My stomach's too fat." "Why don't you diet?" "But I like it this color." Primitive though it may have been, Adventures of a Rookie posted a $198,000 profit for RKO, leading to a three-year series of low-budget, lowbrow Brown & Carney vehicles. ~ Hal Erickson, All Movie Guide

One of Cary Grant's most financially successful 1940s vehicles, Mr. Lucky finds Grant atypically cast as a shifty, out-for-number-one gambler. Having dodged the draft by adopting the identity of a dead man, Grant sets his sights on purchasing a fancy gambling ship. To raise the necessary funds, he pretends to be working hand in glove with the American War Relief society. Once he meets Laraine Day, however, Grant is seized by an uncontrollable bout of honesty. It takes him awhile, but he finally does the right thing. The film is framed in flashback, as old seaman Charles Bickford explains why a tearful Laraine Day waits at the dock each evening for a certain ship to come in. Also in the cast is Paul Stewart as a cold-eyed but nonetheless semi-comic hoodlum, and Kay Johnson and Gladys Cooper as elegant but gullible society women. The best aspect of this breezy comedy-drama is Grant's cockney propensity for "rhyming slang," a running gag better heard than described. Mr. Lucky was later adapted into a TV series in 1959, with John Vivyan in the Cary Grant part and with Blake Edwards at the production controls. ~ Hal Erickson, All Movie Guide

Olivia De Havilland hadn't wanted to star in RKO's Government Girl, but was forced to do so by her home studio Warner Bros. Perhaps in retaliation, De Havilland delivers a strident, overbaked performance, which serves only to make this so-so wartime comedy something of an endurance test for modern viewers. The actress plays "Smokey", the Washington DC-based secretary of Detroit automobile expert Browne (Sonny Tufts, who's actually pretty good in this one!) Aware that Browne is a babe in the woods so far as Washington lobbying, politicking and backstabbing are concerned, Smokey takes the poor boy by the hand and shows him the ropes. Despite the derivative nature of Adela Rogers St. John's screenplay-the film seems like a hybrid of Mr. Smith Goes to Washington and The More the Merrier--Government Girl was an enormous hit, posting a profit of $700,000. The film represents the film directorial debut of producer-screenwriter Dudley Nichols. ~ Hal Erickson, All Movie Guide