Dane Lussier Movies

Excluding a brace of 1980s TV-movie appearances, It Happens Every Thursday was the final feature film appearance of Loretta Young. As radiantly beautiful at 40 as she'd been as a teen-aged ingenue, Young plays Jane McAvoy, the pregnant wife of big-city newspaper reporter Bob McAvoy (John Forsythe). Tired of the urban rat race, Bob moves to a small California town and assumes ownership of a just-getting-by weekly paper. It's a hand-to-mouth existence for the first few editions, and the situation isn't remedied by the cloistered, resentful behavior of the local citizenry. The outcome of the plot hinges on a publicity stunt engineered by Bob: an attempt to artificially create rain for the drought-ridden community. The well-chosen supporting cast of It Happens Every Thursday includes Edgar Buchanan, Jimmy Conlin, Willard Waterman, and in her last film, Gladys George. ~ Hal Erickson, All Movie Guide

Fred Astaire and Betty Hutton make a surprisingly copacetic screen team in Let's Dance. Hutton plays a more sedate role than usual as war widow Kitty McNeil. Not wishing to have her young son Richard (Gregory Moffatt) grow up in the stiff and stuffy environs of her Boston in-laws' mansion, Kitty sneaks off with the kid and resumes her prewar show-business career. She is reunited with her USO dancing partner Donald Elwood (Astaire), who hopes to give up performing in favor of the business world. Inevitably, Kitty and Donald resume their old act, while, equally inevitably, Kitty's Bostonite grandmother-in-law Serena Everett (Lucille Watson) sets the legal wheels in motion to gain custody of little Richard. Fred Astaire manages to match Betty Hutton's patented raucousness during the hillbilly musical number "Oh, Them Dudes", though he is given the opportunity to do the sort of dancing he does best--notably a brilliant routine atop and around a piano. ~ Hal Erickson, All Movie Guide

In this family farce, an older couple falls in love and decide to marry and embark upon a peaceful honeymoon without the bride's three bratty children. Unfortunately, the way things work out, the whole family ends up tagging along. The little darlings are less than pleased that their widowed mother has remarried and behave as monstrously as possible. Eventually their frustrated step-daddy has his fill and gives each of the brats a well-deserved licking. After a major quarrel, they each return home alone. Meanwhile a sly seductress who has her eye on the husband for a while, and who just happened to be staying at the same hotel, rushes back home and plans a little party designed to further humiliate the bride. Fortunately, a change of heart scuttle's the vixen's plans and happiness ensues. ~ Sandra Brennan, 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

Jane Randolph, the star of several Val Lewton projects at RKO, goes the "spoiled heiress" route in Republic's Sporting Chance. Before she can inherit the family millions, Jane must go out and find a job without using her connections. Not surprisingly, she is brought down to earth by the experience, finding true love in the form of poor-but-honest John O'Malley. Director George Blair managed to helm four pictures the same year that Sporting Chance came out. While the strain doesn't show, there is a paucity of inspiration and nuance. ~ Hal Erickson, All Movie Guide

Leonard Maltin once observed that Storm Over Lisbon is what Casablanca would have looked like had it been produced by Republic instead of Warner Bros. This wartime meller reunites the cast and director of the successful Republic melodrama Lady and the Monster, with less than successful results. Skating star Vera Hruba Ralston plays Maritza, a woman of mystery operating in neutral Lisbon. Maritza is somehow connected with sinister café owner Deresco (Erich Von Stroheim), who seems to have a more than a cozy relationship with the Nazis. Deresco tries to prevent American journalist John Craig (Richard Arlen) from leaving Lisbon with a cache of top-secret microfilm (what, no Letters of Transit?) With the whole world crumbling, Vera Ralston manages to work in an ice-ballet number. Few have ever had the urge to shout "Play it again" after watching Storm Over Lisbon. ~ Hal Erickson, All Movie Guide

Lady and the Monster was the first film version of the classic Curt Siodmak sci-fi/horror tale Donovan's Brain. The plot involves the brain of a famous but unscrupulous financier, recently deceased. The brain is kept alive artificially by overenthusiastic scientist Erich Von Stroheim, with the help of lab assistants Vera Hruba Ralston (the "lady" of the title) and Richard Arlen. Gradually, the dead financier's brain takes over the mind of Arlen, turning him into the helpless conduit for the financier's evil machinations. Lady and the Monster was remade in 1954, using the original Siodmak title Donovan's Brain. ~ Hal Erickson, All Movie Guide

Lupe Velez is "The Mexican Spitfire" in everything but name in the frantic baseball farce Ladies Day. Eddie Albert plays Wacky Waters, star pitcher of the Sox, a league-leading contender for the World Series. Alas, whenever Wacky falls in love, his game suffers-and so do the wives of his teammates, who are counting on that Series bonus money. When Wacky marries vivacious movie star Pepita Zorita (Velez), the wives, led by Hazel Jones (Patsy Kelly), take drastic action, kidnapping Pepita and hiding her out in a hotel room. But Pepita manages to wriggle out of the hotel towels that bind and gag, disguise herself as a bellboy, and head to the ballpark during the Big Game. Fortunately, Pepita turns out to be Wacky's prime motivation for winning the Series, and there's a happy ending for one and all. Pretty lame as far as baseball films go, Ladies Day will be best appreciated by fans of Lupe Velez and Patsy Kelly, who never speak when shouting will do. ~ Hal Erickson, All Movie Guide

RKO brought its "Mexican Spitfire" saga to a close with the eighth film in the series, Mexican Spitfire's Blessed Event. Lupe Velez is back again in the leading role, as is Leon Errol as disguise-happy Uncle Matt, but Velez's husband is now played by Walter Reed. When Lupe purchases a baby ocelot while on vacation, she sends a fractured-English telegram that leads everyone to believe that she's become a mother. Somehow this is tied in with her husband's big business deal with whisky manufacturer Lord Epping, who for the purposes of the plot twists is a dead ringer for Uncle Matt. 63 minutes later, it's all over. ~ Hal Erickson, All Movie Guide