Ernest Cossart Movies

Based on the novel by Agatha Christie and play by Frank Vosper, Love From a Stranger isn't quite as good as the 1937 version of the same property. This time, Sylvia Sidney and John Hodiak play the roles originally filled by Ann Harding and Basil Rathbone. Falling under the romantic spell of charismatic Manuel Cortez (Hodiak), impressionable sweepstakes winner Cecily Harrington (Sidney) marries him after a whirlwind courtship. It doesn't take long for Cecily to figure out that Cortez is a dangerous psychotic, bent on murdering his wife and claiming her fortune. Unable to convince anyone else of Cortez intentions (even though his behavior would, in real life, get him locked away in a minute), Cecily determines to outsmart her husband and catch him in his own trap. Ironically, Frank Vosper never saw either film version of Love From a Stranger, having died under mysterious circumstances in 1937 (too bad Agatha Christie never wrote that story!) ~ Hal Erickson, All Movie Guide

Though legendary entertainer Al Jolson was a highly visible presence on the U.S.O. circuit during World War II, he was generally regarded as a relic of an earlier time until his movie comeback in 1945's Rhapsody in Blue. Showing up 30 minutes into this biopic of George Gershwin, Jolson literally stopped the show with his robust rendition of "Swanee." Suddenly, every Hollywood studio was negotiating with Jolson to film his life story. Warner Bros., the studio that skyrocketed to the top ranks via the 1927 part-talkie Jolson vehicle The Jazz Singer, seemed to have the inside track, but it was Columbia's Harry Cohn who made the deal that Jolson couldn't refuse. An attractively appointed fabrication, the Technicolor The Jolson Story distorts and glosses over the particulars of Jolson's life, but the results are so darned entertaining that nobody really paid attention to its inaccuracies. The story begins in turn-of-the-century Washington, D.C., where young Asa Yoelson (Scotty Beckett), son of an immigrant cantor (Ludwig Donath), ignores his religious studies in favor of popular music. Asa is hired as an "extra added attraction" boy tenor by a vaudevillian; when his voice breaks, the boy wins over the audience with his whistling ability. Growing into manhood, Asa Yoelson -- now "Al Jolson," and now played by Larry Parks -- becomes fascinated with African-American jazz music. He breaks away from his initial vaudeville assignment by joining Lew Dockstader's (John Alexander) blackface minstrel troupe, then goes on to success as a "single." Ascending to Broadway, Jolson establishes a reputation as an inveterate ad-libber, as well as an indefatigable singing performer, frequently holding an audience in thrall until the wee hours of the morning. Along the way, he falls in love with singer Julie Benson (Evelyn Keyes), a character based on Jolson's third wife Ruby Keeler, who refused permission to have her name used on screen. As Jolson attains superstardom, his ego assumes gargantuan proportions, alienating many of those around him, including his wife Julie. Anxious not to lose Julie, Jolson promises to change his ways. He even goes into retirement so as to spend more time with his wife. But when coerced into performing before a nightclub audience, Jolson is "hooked"once more -- whereupon the understanding Julie walks out of his life, realizing that she can never compete with Jolson's love for his audience. Like its subject, The Jolson Story delivered exactly what the audience wanted to hear. Faithful Columbia contractee Larry Parks was catapulted to stardom as Jolson, though in retrospect he seems a curious casting choice: his miming of Jolson's style is painstakingly accurate, but he seems too boyish and unwordly for the role. Jolson, then well into his sixties, had wanted to play himself on screen, but was talked out of it after a rather embarrassing screen test. He consoled himself by personally coaching Parks in the role (his attitude toward the young performer alternated between avuncular and adversarial through the shooting), and by providing his own voice in the musical sequences. Jolson also appears in long-shot during the "Swanee" number, which like all the film's musical highlights was directed by cult favorite Joseph H. Lewis (whose "dry run" for this assignment was the 1945 PRC production Minstrel Man). A wealth of Jolson standards are heard in The Jolson Story, including "You Made Me Love You," "I'm Sitting on Top of the World," "My Mammy," "There's a Rainbow Round My Shoulder," "Toot Toot Tootsie," "The Anniversary Waltz," "Rock-a-bye Your Baby," and "Let Me Sing and I'm Happy." The film was nominated for several Oscars, winning in the "best sound" and "best score" categories. A fantastic box-office success, The Jolson Story spawned a 1949 sequel, Jolson Sings Again. Ironically, despite Larry Parks' contributions to the film, it did little for that actor and instead reignited Jolson's celebrity during the last several years of his life. ~ Hal Erickson, All Movie Guide

A widow's grief turns to blind maniacal rage against the daughter she holds responsible for her husband's death in this, the second of three melodramatic films based on a novel by Gene Stratton Porter. In her anger, the mad mother abuses and torments her off-spring at every turn. ~ Sandra Brennan, All Movie Guide

The wild and woolly early days of New York -- when it was still known as New Amsterdam -- provide the backdrop for this period musical-comedy. In 1650, Peter Stuyvesant (Charles Coburn) arrives in New Amsterdam to assume his duties as governor. Stuyvesant is hardly the fun-loving type, and one of his first official acts is to call for the death of Brom Broeck (Nelson Eddy), a newspaper publisher well-known for his fearless exposes of police and government corruption. However, Broeck hasn't done anything that would justify the death penalty, so Stuyvesant waits (without much patience) for Broeck to step out of line. Broeck is romancing a beautiful woman named Tina Tienhoven (Constance Dowling), whose sister Ulda (Shelley Winters) happens to be dating his best friend, Ten Pin (Johnnie "Scat" Davis). After Stuyvesant's men toss Broeck in jail on a trumped-up charge, Stuyvesant sets his sights on winning Tina's affections. However, as Broeck begins to organize his fellow New Amsterdamians in a bid for independence, he tries to convince Stuyvesant that working for justice might do him more good that following his current policies of graft and corruption. Based on a Broadway musical with songs by Kurt Weill and Maxwell Anderson, Knickerbocker Holiday's score was beefed up for its screen incarnation with a number of new tunes by Sammy Cahn and Jules Styne, though the best known song from the stage version remained the best remembered selection from the film, September Song. ~ Mark Deming, All Movie Guide

Claudette Colbert and Ray Milland, stars of the 1940 hit Arise, My Love, were immediately reteamed for Skylark. Adapted from the play by Samson Rafaelson, the film stars Colbert as the wife of a neglectful businessman Milland (her role had been played on Broadway by Gertrude Lawrence). Brian Aherne is a handsome bachelor who hopes to win Colbert away from her husband. At first enjoying her vacation from marriage, Colbert finds she can't keep up with Aherne's peripatetic lifestyle, and returns to Milland. Skylark's comic highlight is a slapstick sequence in which Colbert tries to prepare lunch in a yacht during a storm. The scene was shot in a single take, an accomplishment in which the actress took justifiable pride. ~ Hal Erickson, All Movie Guide

A seemingly quiet Midwestern town is the hiding place for a number of sordid secrets in this melodrama based on Henry Bellamann's best-selling novel. Parris Mitchell (Scotty Beckett) is a young boy growing up in the town of King's Row, where he becomes close friends with Cassandra (Mary Thomas), a quiet girl who isn't popular with the other children. Parris is also friends with Louise (Joan Duvalle), a rich girl who looks down on others; Drake (Douglas Croft), a good-natured but self-centered type; and Randy (Ann Todd), a girl with a wild tomboy streak. It's a testimony to Parris' character when Cassandra and Louise both invite him to parties on the same day and he decides to go to Cassandra's, because he's not sure who else might be there for her. However, his friendship with her begins to fade after her father, local psychiatrist Dr. Tower (Claude Rains), decides to withdraw her from public school and tutor her at home instead. Years later, Parris (now played by Robert Cummings) is a promising medical student studying psychiatry with Dr. Tower, and while he's stayed in contact with Cassandra (now played by Betty Field), she remains at a curious emotional distance from those around her. Randy (now played by Ann Sheridan) romances Drake (now played by Ronald Reagan), who has inherited a fortune and is living the high life to the fullest. However, Drake is also involved with Louise (Nancy Coleman), who is not allowed much of a social life by her father, Dr. Gordon (Charles Coburn), and she fears that the more outgoing Randy will steal Drake away from her. When Parris decides to travel to Europe to further his studies, Cassandra asks if she can join him; he's not keen on the idea, but he considers it. He is then shocked to learn that Cassandra has been killed by her father after he learned that she was with child, shortly before taking his own life. Drake, meanwhile, loses his money through a series of unfortunate circumstances and is forced to take a job with the railroad; when he is injured at work, he's taken to Dr. Gordon for treatment. However, the doctor never approved of Drake's romance with Louise and was even more upset when he decided to leave her for Randy; in retaliation, Dr. Gordon amputates Drake's legs, even though his condition in no way justified it. Meanwhile, Parris comes back from Europe and makes the acquaintance of a local resident, Dr. Sandor (Erwin Kalser), while becoming infatuated with his daughter, Elise (Kaaren Verne). He also learns of Dr. Gordon's shocking mutilation of Drake, who is determined to somehow live a normal life despite it all, with Randy by his side. Kings Row was nominated for three Academy Awards (including Best Picture of 1943), and is generally conceded to feature the best performance of Ronald Reagan's Hollywood career; he titled his autobiography Where's the Rest of Me?, after the key line of his most memorable (and challenging) scene in the picture.
~ Mark Deming, All Movie Guide

A creaky remake of the 1932 film of the same name, Bill of Divorcement tells of the effect an emotionally disturbed father's homecoming has on this household. Adolphe Menjou, a longtime mental patient, is released after 20 years' confinement and returns home. Only vaguely aware of the time lapse, Menjou meets his daughter (Maureen O'Hara), and attempts a reunion with his wife (Fay Bainter), who is on the verge of divorcing her long-absent husband and remarrying. Thanks to undue pressure from friends and family, the wife very nearly takes her husband back, much against her will. But the daughter steps in and volunteers to sacrifice her own future to take care of her father, thereby allowing mother to chart her own course of happiness. Incredibly dated in its attitudes toward divorce and insanity, Bill of Divorcement worked somewhat better in its 1932 version, thanks to the charisma and chemistry of John Barrymore as the father and newcomer Katharine Hepburn as the daughter. For many years, the 1940 Bill of Divorcement was retitled Never to Love when shown on TV. ~ Hal Erickson, All Movie Guide

Though Ginger Rogers' starring vehicles always turned a profit for RKO Radio, many filmgoers thought of Rogers only in terms of "Fred Astaire's partner." Others considered her a delightful comedienne, but no great shakes as a dramatic actress. Thus it was both a personal and professional triumph when Ms. Rogers walked home with an Oscar for her performance in Kitty Foyle. Based on Christopher Morley's Story of an American Girl, the film, told in flashback, relates the progress of working-girl Kitty Foyle (Ginger Rogers) as she pursues her Cinderella dreams. While employed at a department store, Kitty is wooed by Dennis Morgan, scion of a wealthy Philadelphia family. She flirts with the notion of marrying Morgan for his money, but decides that he's a bit too weak-willed for her tastes. Kitty enters into a romance with poor-but-dedicated doctor James Craig, then does an about-face by accepting Morgan's proposal. She quickly runs afoul of Morgan's snobbish family, who are so tightly bound by centuries-old tradition that Kitty is moved to exclaim "You mean to say you let all those dead people tell you what do?" She walks out on Morgan, then discovers that she's pregnant. Even after the trauma of delivering a stillborn child, Kitty is too proud to go back to Morgan. When true-blue Craig comes back into her life, Kitty, repeating her favorite phrase "By Judas Priest!", decides to forego money for love. Though successful to the tune of an $860,000 profit in 1940, Kitty Foyle seems stilted and over-rehearsed when seen today, save for the refreshing spontaneity of Ginger Rogers' performance. The film's best scene is the opening montage of the American Woman's "progress" once she enters the workplace (an uncredited Heather Angel is the central character in this delightful pantomimic vignette). Featured in the cast of Kitty Foyle is director Sam Wood's daughter Katherine Stevens, better known as K.T. Stevens. ~ Hal Erickson, All Movie Guide

The old David Belasco theatrical warhorse Zaza, which starred Mrs. Leslie Carter way back in 1899, had already been filmed by Pauline Frederick in 1915 and by Gloria Swanson in 1923 when this Claudette Colbert version hit the screens in early 1939. Doing her own singing and dancing, Colbert plays the title character, a saucy fin de siecle Parisian cabaret performer who falls in love with wealthy rogue Dufresne (Herbert Marshall). Quitting show biz to be with Dufresne for all time, Zaza is taken aback to discover that he's already married. Sorrowfully she returns to the stage, singing a farewell to Dufresne before an audience that seems to include everyone in Paris. Bert Lahr steals the show as Zaza's zany but golden-hearted music-hall partner; in fact he's a lot livelier than the near-comatose Herbert Marshall, who seems preoccupied with more important matters throughout the film. Screenwriter Zoe Akins did her best to make the "naughty" Belasco original conform to the stringent censorship standards of 1939. Still, the Hays Office found plenty with which to nitpick: Commenting on Zaza's angry exclamation "Pig! Pig! Pig! Pig! Pig!", the Hays folks demanded "Delete two 'Pigs'." ~ Hal Erickson, All Movie Guide

In this sequel to 1936's Three Smart Girls, Deanna Durbin is back as the most precocious of a sister trio: the other girls are Nan Grey and Helen Parrish (replacing the first film's Barbara Read. Three Smart Girls dealt with the girls' efforts to reunite their parents. In the sequel, Durbin pokes her turned-up nose into the affairs of her older sisters, hoping to find suitable husbands for them. The musical highlight is Durbin's rendition of the old wedding-day standard "Because," which resulted in a bestselling record. In 1939, Deanna Durbin could have appeared in a film version of a seed catalogue and still make scads of money for Universal Studios. ~ Hal Erickson, All Movie Guide

In this lively programmer a con man hires a character actor to masqueraded as the recently assassinated dictator of a tiny Latin American country so he can bilk an arriving American ambassador out of his fortune. ~ Sandra Brennan, All Movie Guide

A master blend of high comedy and tense emotional drama, A Letter of Introduction reteams Adolphe Menjou, Andrea Leeds, and Edgar Bergen & Charlie McCarthy, who'd previously costarred in the negligible Goldwyn Follies. Menjou plays John Mannering, a Barrymoresque actor who years earlier had divorced his wife and severed his relationship with his daughter Kay (Andrea Leeds). Now a grown woman, Kay aspires to an acting career, fully determined to make it on her own without her father's help. She goes so far as to change her last name to Martin, and to keep her actual relationship to Mannering a secret from the public. This set-up leads to a dizzying series of complications, including the breakup of Mannering's romance with a tootsie named Lydia Hoyt (Anne Sheridan), who falsely assumes that Kay is Mannering's mistress, and Kay's own romantic travails with vaudeville hoofer Barry Paige (George Murphy). Meanwhile, Kay's ventriloquist friend Bergen and his dummy McCarthy rise to superstardom on radio. It is, in fact, Bergen and Charlie who are instrumental in reuniting the estranged Mannering and Kay, paving the way for the film's tear-stained conclusion. Unavailable for many years, A Letter of Introduction re-emerged on the Public Domain circuit in 1975. ~ Hal Erickson, All Movie Guide