Luke Cosgrave Movies

Both film versions of Phillip Barry's stage comedy Holiday have their merits, but the 1938 version has the added advantage of supercharged star power. Katharine Hepburn and Doris Nolan play Linda and Julia Seton, two daughters of a very well-to-do family. Linda feels a bit lost in the shuffle as sister Julia prepares to marry self-made financier Cary Grant. Hepburn has always rebelled against her privileged trappings, and finds a kindred spirit in the unorthodox, iconoclastic Grant. On the verge of compromising his down-to-earth values with his marriage to the wealth-obsessed Nolan, Grant chooses instead to plight his troth with soul-mate Hepburn, celebrating his "liberation" by doing several cartwheels. Donald Ogden Stewart is careful to bring the pre-Depression frivolities of the Barry play up-to-date, first by changing the character of Grant's best friend (played in both films by Edward Everett Horton) from a lazy socialite to a dedicated professor, and by including several lines indicating how out of touch the privileged classes are--and choose to remain--with 1930s realities. The only element in which the remake does not improve on the original is in the casting of Hepburn's alcoholic younger brother; charming though Lew Ayres is in the 1938 film, he is still outclassed by Monroe Owsley in Holiday (1930). Katharine Hepburn managed to temporarily defray her "box office poison" onus when Holiday proved to be a success; alas, her next film, Bringing Up Baby (which reteamed her with Grant), was a financial bust, compelling her to return to Broadway--where she made a spectacular comeback in another Philip Barry play, The Philadelphia Story. ~ Hal Erickson, All Movie Guide

Two of America's most distinguished humorists, Oklahoma's Will Rogers and Kentucky's Irvin S. Cobb, costar in Steamboat Round the Bend. Cobb isn't much of an actor, so it is Rogers who carries the comic weight of this fast-paced slice of Americana. Will uncharacteristically sticks to the script for most of the proceedings as the proprietor of a combination travelling waxworks and medicine show. The plot resolution hinges on a climactic steamboat race, in which Rogers' paddlewheeler is fed bit by bit into its own furnace when the fuel supply runs out. Steamboat Round the Bend was released posthumously after Rogers' sudden death, at which point Fox Studios tried unsuccessfully to create a "new" Will Rogers--in the form of his old friend and costar Irvin S. Cobb. ~ Hal Erickson, All Movie Guide

Paramount Pictures seldom fully utilized the talents of contract player Carole Lombard, as witness such tedious programmers as Sinners in the Sun. Lombard plays Doris Blake, an elegant fashion model who spurns her auto-mechanic suitor Jimmy Martin (Chester Morris) in favor of married millionaire Eric Nelson (Walter Byron). Securing a job as a chauffeur, Jimmy marries his employer, wealthy heiress Claire (Adrienne Ames), on the rebound. Ultimately, both hero and heroine realize that (here comes the message) MONEY ISN'T EVERYTHING, whereupon both turn their backs on money and creature comforts to find happiness with each other. Somewhere near the bottom of the cast list is Cary Grant, who would later co-star with Carole Lombard in the infinitely better romantic drama In Name Only. ~ Hal Erickson, All Movie Guide

Lightnin' is based on the 1918 stage play by Winchell Smith and Frank Bacon, in which Bacon (the father of director Lloyd Bacon) had starred for years on Broadway and "the road." Will Rogers steps into the leading role as "Lightnin'" Bill Jones, the slow-moving husband of Mary Jones (Louise Dresser). Mr. and Mrs. Jones are co-owners of a hotel built right on the borderline between California and Nevada, used as the temporary home of divorcing wives so that they may pretend to be in the "California" half of the hotel while establishing residency in the "Nevada" half. Lightnin' befriends lawyer John Marvin (Joel McCrea), at present residing in the California half to avoid arrest on a trumped-charge. When Lightnin' refuses to sell his share of the hotel to a gang of stock crooks headed by Raymond Thomas (Jason Robards Sr.), Mary is coerced into divorcing her husband so that she can sign over the deed herself. In the semi-serious courtroom finale, Lightnin' not only convinces Mary that she's still in love with him but also manages to clear John Marvin's name. Director Henry King clearly exercised no control over Will Rogers, whose incessant ad-libbing, amusing though it is, slows the film to a crawl. Still, Lightnin' proved to be just as successful as any other Rogers talkie vehicle, proving that audiences came to see the star and not the story. ~ Hal Erickson, All Movie Guide

The present unavailability of 1928's Gentlemen Prefer Blondes is especially frustrating for those who'd like to compare this first version of the classic Anita Loos comic novel to the 1953 Marilyn Monroe-Jane Russell remake. The blonde in question is Miss Lorelei Lee, a dumb-like-a-fox golddigger on the prowl for a rich husband. With her best friend Dorothy Shaw (Alice White), Lorelei takes a trip to Gay Paree, where among other adventures she gets mixed up with roguish old millionaire Sir Francis Beekman (Mack Swain). Eventually she finds that true love doesn't come with a price tag, or does it? Ford Sterling and Holmes Herbert co-star as Lorelei and Dorothy's middle-aged swains. Lorelei herself is played by Ruth Taylor, a onetime Mack Sennett bathing beauty who retired from films upon her marriage to a Manhattan stockbroker (life imitates art!) Incidentally, Taylor was the mother of humorist Buck Henry. ~ Hal Erickson, All Movie Guide

Lois Wilson stars in this drama, which was based on the novel by Clarence Buddington Kelland. Schoolteacher Carmel Lee (Wilson) inherits a run-down country newspaper from her uncle. With the help of eccentric Professor Pell (Raymond McKee) and Jed Tubal, an old printer (Luke Cosgrave), she starts bringing it back to life. When she decides to rid the town of a gang of bootleggers, she runs into trouble. The reformers are on her side but the bad guys are determined to stop them. Sheriff Churchill (Charles Ogle) has disappeared and she suspects foul play. Pell proves that the sheriff has been murdered, and that Abner Fownes (Edwards Davis) is the leader of the bootleggers. Deputy Sheriff Jenney (a well-cast Noah Beery) is Fownes' equally villainous assistant. Carmel gathers up the reformers of the town and leads them to the bootleggers' lair. Their game is uncovered and they're run out of town. ~ Janiss Garza, All Movie Guide

The story to this sea melodrama was written by Byron Morgan. Morgan was best known for the fast-paced auto tales he wrote for Wallace Reid, so this was quite a departure for him. When Bruce McDow (Rod LaRocque) refuses to go aloft to fix a rigging during a storm, and he is branded a coward. McDow believes his lack of courage is hereditary because many years before his father had taken his lightship into harbor during a storm instead of aiding a passenger liner; as a result, the liner wrecked. Because of this, Captain Hayden (George Fawcett) hates the name McDow. Hayden's daughter, Jenny (Jacqueline Logan), however, has faith in Bruce. She helps him get a job as mate on a lightship and once again a storm blows. Captain Hayden loses a propeller while bringing his ship in. Jenny, meanwhile, has come to meet him in a yacht which goes on the rocks. Both Bruce and Hayden get the wire from the yacht, and Hayden tells Bruce to save Jenny. Bruce sets out in a launch and he reaches the boat. Everyone is saved except him when the boat goes down. He is washed ashore clinging to a spar, and that's how Jenny finds him the next day. His bravery proven, Bruce is hailed as a hero. ~ Janiss Garza, All Movie Guide

This first of three film versions of the George S. Kaufman/Marc Connelly stage comedy Merton of the Movies stars Glenn Hunter in the title role. A small-town boy with big-time ideas, Merton heads to Hollywood, hoping to become a great dramatic star in films. Before long, he's on the verge of starvation, and no closer to his goal than before. With the help of good-natured stuntwoman Viola Dana, Merton is given a screen test. His overwrought emoting is laughed off the screen, totally crushing Merton's spirits. But a happy ending ensues when Merton is signed to a contract anyway-as a comedy star. Later adaptations of Merton of the Movies starred Jack Oakie and Red Skelton; only the 1947 Skelton version is currently available for reappraisal. ~ Hal Erickson, All Movie Guide

The premise is clichéd -- it's the usual tale of a pretty girl from the sticks trying to break into movies -- but this satire gives it a number of unexpected turns. In addition, just about every star in Hollywood -- not just those at Paramount, the releasing studio -- has a cameo at one point or another during the film's eight reels. Ironically, nearly all of the lead actors are unknowns (although George K. Arthur would become a noted character comedian). Angela Whitaker (Hope Brown) of Centreville is convinced she has a chance in Hollywood -- all her friends tell her so. So she heads West with her Uncle Joel (Luke Cosgrave) in tow. But Angela has no luck in Tinseltown, while her uncle starts landing roles left and right because of his curious image. Eventually the rest of the family, including Angela's sweetheart Lem Lefferts (Arthur), her grandmother (Ruby Lafayette), and her aunt (Eleanor Lawson) come to Hollywood. All Angela's relatives get movie work because they're character types. Finally a screenwriter tries to help Angela out, but Lem winds up landing a role instead. He becomes a star, which suits Angela just fine because she has married him. The couple have twins, and the babies -- not to mention the couple's pet parrot -- wind up in films, while Angela remains at home. The most notable cameo in this picture is Roscoe "Fatty" Arbuckle, who had been shunned in motion pictures since the 1921 scandal surrounding a Labor Day party that allegedly resulted in the death of starlet Virginia Rappe. Here he returns as a man standing in a casting line. When it's his turn to come up to the window, it is shut in his face and a "closed" sign put out. Unfortunately this gag turned out to be all too true; Arbuckle was not seen in front of a camera again until 1932. ~ Janiss Garza, All Movie Guide