Frank Partos Movies
American screenwriter Franklin Partos spent the first three years of the talkie era as a staff scrivener at Paramount. In the mid-'30s, Partos served on the executive committee of the Screen Actor's Guild, which he'd helped found in 1933. He moved from Paramount to RKO in 1939, where he collaborated on the embryonic noir effort Stranger on the Third Floor (1940). Active until 1955, Franklin Partos shared an Academy Award nomination for 1949's The Snake Pit. ~ Hal Erickson, Rovi- 1956
Adapted from a novel by Bernard Victor Dyer, Port Afrique offers an unusual screen romantic team in the form of two-fisted Phil Carey and ethereally beautiful Pier Angeli. Carey plays Rip Reardon, a WW2 veteran who returns to his "second home" in Morocco for a reunion with his wife. Upon arrival, Reardon discovers that his wife was murdered, though the police insist that she died by her own hand. Smelling a cover-up, Reardon conducts his own investigation, which leads him through some of the seedier portions of Port Afrique. Along the way, he meets and briefly romances nightclub singer Ynez (Angeli), who may or may not have had something to do with his wife's death. ~ Hal Erickson, Rovi
- Starring:
- Anna Maria Pier Angeli, Philip Carey, (more)
- 1952
Given to violent, unpredictable behavior, composer Richard Morton (Gary Merrill) is an accident waiting to happen. Attempting to drown his problems in drink, Morton awakens with a monumental hangover -- and the nagging belief that he has murdered a woman. Did this, in fact, happen? And was the victim his wealthy, quarrelsome wife (June Vincent), his former mistress (Hildegarde Neff) or the movie star (Linda Darnell) with whom he has been carrying on a casual romance? As he attempts to contact the three women, Morton flashes back to his experiences with each one. The ending is pure Hitchcock, even though the director of the moment was future Saint helmsman Roy Baker. ~ Hal Erickson, Rovi
- Starring:
- Linda Darnell, Gary Merrill, (more)
After surviving the hell of a Nazi death camp, a refugee faces even greater dangers in America in this tale of murder, deceit, and assumed identities. Victoria Kopwelska (Valentina Cortese) is a Polish woman imprisoned in a Nazi concentration camp near the end of World War II. Desperate to survive, Victoria learns that her best friend has family in the United States, and if they are ever freed, she pledges to take Victoria to America with her. Victoria's friend, however, is killed shortly before American troops can liberate the camp. With nowhere to go, Victoria steals her friend's papers and sails to America, where she is accepted as her friend by her family. Victoria learns that she is now the godmother to a young boy, as well as the heir to a sizable fortune, following the death of her "aunt." Alan Spender (Richard Basehart), the boy's guardian, has been making secret plans to get his hands on the money, and Victoria's arrival causes him to draft a new scheme. Alan begins wooing Victoria, hoping to take her hand in marriage and then murder her, gaining her estate in the process. However, after several accidents befall the youngster, Victoria begins to believe that her new sweetheart is up to no good. The House on Telegraph Hill was directed by Robert Wise, who went on to helm such blockbusters as West Side Story and The Sound of Music. ~ Mark Deming, Rovi
- Starring:
- Richard Basehart, Valentina Cortese, (more)
"A woman loses her mind and is confined to a mental institution." That's the usual TV-listing encapsulation of The Snake Pit -- and like most such encapsulations, it only scratches the film's surface. Olivia de Havilland stars as an outwardly normal young woman, married to loyal, kindly Mark Stevens. As de Havilland's behavior becomes more and more erratic, however, Stevens comes to the sad conclusion that she needs professional help. She is sent to an overcrowded state hospital for treatment -- a curious set-up, in that, while de Havilland is treated with compassion by soft-spoken psychiatrist Leo Genn, she is sorely abused by resentful matrons and profoundly disturbed patients. Throughout the film, she is threatened with being clapped into "the snake pit" -- an open room where the most severe cases are permitted to roam about and jabber incoherently -- if she doesn't realign her thinking. In retrospect, it seems that de Havilland's biggest "crime" is that she wants to do her own thinking, and that she isn't satisfied with merely being a loving wife. While this subtext may not have been intentional, it's worth noting that de Havilland escapes permanent confinement only when she agrees to march to everyone else's beat. Amazingly, Olivia de Havilland didn't win an Academy Award for her harrowing performance in The Snake Pit (the only Oscar won by the film was for sound recording). While some of the psychological verbiage in this adaptation of Mary Jane Ward's autobiographical novel seems antiquated and overly simplistic today, The Snake Pit was rightly hosannahed as a breakthrough film in 1948. ~ Hal Erickson, Rovi
- Starring:
- Olivia de Havilland, Mark Stevens, (more)
- 1944
The Uninvited is one of the rare Hollywood ghost stories that does not cop out with a "logical" ending. In fact, the film has more in common with British ghost tales of the period, in that the characters calmly accept spectral visitations as though they were everyday occurrences. Roderick Fitzgerald (Ray Milland) and his sister, Pamela (Ruth Hussey), buy a house on the Cornish seacoast, never suspecting that it is a "bad" house, subject to haunting. Before long, Roderick and Pamela are visited by Stella Meredith (Gail Russell), whose late mother, it is said, is the house ghost. It is further supposed that the ghost means to do Stella harm. Stella's grandfather Commander Beech (Donald Crisp) is close-mouthed on the issue, but it is clear he knows something that he isn't telling. Sure enough, there is a secret to the manor: it is inhabited by not one but two ghosts, one of whom is merely trying to shield Stella from harm. Once the film's deep dark secret is revealed (courtesy of a virtuoso "mad speech" by supporting actress Cornelia Otis Skinner), Roderick is able to single-handedly exorcise the estate and claim Stella as his bride. Based on the novel by Dorothy Macardle (with a few uncredited "lifts" from Daphne du Maurier's Rebecca), The Uninvited remains one of the spookiest "old dark house" films ever made, even after years of inundation by computer-generated special effects. Less effective was the 1945 sequel, The Unseen, which starts well but degenerates into a substandard murder mystery. ~ Hal Erickson, Rovi
- Starring:
- Ray Milland, Ruth Hussey, (more)
- 1944
In this melodrama, a doctor returns to his home town to set out his shingle. He was born on the poor side of town and so has had a life-long anger towards the town's wealthiest family. When the daughter of this family comes in for treatment, he finds himself faced with a dilemma. A bout with meningitis has left her deaf. He has a new drug that can cure deafness. Will he use it, or will he let his anger prevent him from helping her? ~ Sandra Brennan, Rovi
- Starring:
- Loretta Young, Alan Ladd, (more)
- 1940
Though he doesn't speak his first line of dialogue until the film's final ten minutes, Peter Lorre spiritually dominates the fascinating RKO melodrama Stranger on the Third Floor. The plotline is carried by John McGuire, playing Ward, a newspaper reporter whose courtroom testimony sends the hapless Briggs (Elisha Cook Jr). to the death house. Ward is certain that he saw Briggs leaving the scene of a murder, but as the days pass, he is tortured by guilt and doubt -- especially during the film's surrealistic knockout of a nightmare sequence. When another murder is committed, Ward finds himself as much a victim of circumstantial evidence as the unfortunate Briggs. The reporter's girlfriend (Margaret Tallichet) tries to clear Ward....and that's when she first makes the acquaintance of Lorre, who is heard ordering a pound of raw meat! Stranger on the Third Floor was a "film noir" long prior to the genesis of that cinematic movement. Long ignored or trivialized by film historians, this 7-reel quickie has in recent years graduated to classic status. ~ Hal Erickson, Rovi
- Starring:
- Peter Lorre, John McGuire, (more)
- 1939
Though running a mere 75 minutes, Rio has enough plot for ten movies. Basil Rathbone and Sigrid Gurie, previously teamed in The Adventures of Marco Polo, head the cast as crooked French financier Paul Reynard and his wife Irene. Sentenced to a ten-year term in a French penal colony for bank fraud, Paul wonders if his wife will remain faithful to him. At first glance it seems that he has nothing to worry about: Irene and family friend Dirk (Victor McLaglen) head to Rio to arrange for Paul's escape, with Dirk vowing to shield Irene from any and all sexual predators. But once she's landed in the Brazilian capital, Irene falls in love with red-blooded American engineer Bill Gregory (Robert Cummings). Upon emerging from his dank prison cell, Paul realizes that he's lost his wife forever to a better man. Seeking revenge, he prepares to shoot Bill in cold blood, but good old Dirk intervenes, paving the way for a happy ending -- for everyone but Paul, that is. Though he plays a thoroughly unsavory character, Basil Rathbone ends up the most sympathetic person in the film, and as such he's the only real reason to sit through the melodramatic convolutions of Rio. ~ Hal Erickson, Rovi
- Starring:
- Basil Rathbone, Victor McLaglen, (more)
- 1939
George Burns and Gracie Allen made their last screen appearance together in the 1939 MGM musical Honolulu; indeed, it would be Burns' last film until his 1976 "comeback" in The Sunshine Boys. The nonsensical plotline is carried by Robert Young as famous movie star Brooks Mason, who wants to go to Honolulu for a long rest but can't shake off his throngs of adoring female fans. As luck would have, Mason has an exact double, a Hawaiian plantation owner named George Smith. Mason convinces Smith to switch identities, with the expected comedy-of-error complications as a result. Things get really complicated when Smith, posing as Mason, proposes marriage to lovely Dorothy March (Eleanor Powell), who then can't understand why the real Mason seems to be so fickle. Clearly in support, Burns and Allen are cast respectively as Mason's personal manager Joe Duffy and Dorothy's scatterbrained friend Millie de Grasse. The film contrives to separate George and Gracie for most of the footage, bringing them together in the last reel for a characteristic comedy routine about Gracie's dizzy relatives. Also on hand in a minor role is another comedy giant, Eddie "Rochester" Anderson. Highlights include a masquerade-party production number in which Gracie Allen is serenaded by the King's Men Quartet (disguised as the Marx Brothers), and Eleanor Powell's blackface stair-tap tribute to Bill "Bojangles" Robinson (Powell also performs a tap-dance hula, which scores on its novelty value alone!) ~ Hal Erickson, Rovi
- Starring:
- Eleanor Powell, Robert Young, (more)
- 1938
Herman Bahr's German play The Yellow Nightingale from 1907 became Paramount's 1938 entry in the then-popular operetta cycle. Gladys Swarthout, formerly of the Met, stars as Ilona Boros, a peasant girl with a magnificent voice who becomes a pawn in the rivalry between opera tenor Tony Kovach (John Boles) and his business manager Zoltan Jason (John Barrymore). Both men are infatuated with the beautiful, but cold, Countess Foldessy (Claire Dodd), and Tony plans to make Ilona a star so that Jason will be attracted to her instead. The scheme backfires, of course, and soon both men are fighting over Ilona, the outraged countess left to instead pursue Jason's butler, Von Hemisch (Curt Bois). In between the comedy, Swarthout, Boles, and company perform such well-known selections as "Because," from the opera Jocelyn; "Habanera," from Carmen; "La Ci Darem la Nano," from Don Giovanni; and Ralph Rainger and Leo Robin's "Tonight We Love." ~ Hans J. Wollstein, Rovi
- Starring:
- Gladys Swarthout, John Boles, (more)
- 1937
Not only is "she" no lady, but heroine Jerry (Ann Dvorak) doesn't even have a ladylike name. Jerry is an insurance investigator who moonlights as a jewel thief, making life difficult for professional diamond-swiper Carter (John Trent). It turns out that at least one of these two reprobates is actually working on the side of the law -- but which one? The story is played for laughs, perhaps because the producers realized that this confusing concoction would never be taken seriously. She's No Lady was produced independently by former studio executive B. P. Schulberg, and released by Schulberg's old studio Paramount. ~ Hal Erickson, Rovi
- Starring:
- Ann Dvorak, John Trent, (more)
- 1937
Akim Tamiroff plays the Great Gambini, a famous magician mixed up in a murder case. In addition to his card tricks and onstage illusions, Gambini is something of a mystic, and has predicted the death of the murder victim. Suspects breed like rabbits, but the actual culprit turns out to be the only person Gambini truly loves (It's not hard to figure out who done it; only in the last reel do we find out why). Genevieve Tobin shows up as a scatterbrained socialite, while William Demarest is on duty once more as a flustered flatfoot. The Great Gambini was one of the last films of producer B. P. Schulberg, a former Hollywood high-roller on his way down. ~ Hal Erickson, Rovi
- Starring:
- Akim Tamiroff, John Trent, (more)
- 1937
A remake of 1929's The Greene Murder Case, Paramount's Night of Mystery was the first "Philo Vance" thriller not to use the words "Murder Case" in the title. The story is set in the Greene Mansion in midtown New York, where a passel of greedy relatives attend the wealthy and reclusive Mrs. Tobias Greene (Elizabeth Patterson). When murder inevitably rears its ugly head, dilettante sleuth Philo Vance (Grant Richards) shows up to investigate, condescendingly second-guessing DA Markham (Purnell Pratt) and Sgt. Heath (Roscoe Karns). Among the clues is a revolver which keeps appearing and disappearing, seemingly at will. Part of the appeal of the original Greene Murder Case was the offbeat casting of then-ingenue Jean Arthur. In Night of Mystery, the Arthur role is filled by Ruth Coleman, who is almost as ill-suited for the part as is the colorless Grant Richards as Philo Vance. Strange that director E. A. Dupont, one of the giants of the German silent cinema, couldn't inject any more excitement into this weary yarn. ~ Hal Erickson, Rovi
- Starring:
- Grant Richards, Roscoe Karns, (more)
- 1936
In her much vaunted screen debut, Metropolitan Opera star Gladys Swarthout takes on David Belasco's 30-year-old operetta about the female leader of a gang of vigilantes battling usurpers plotting to steal valuable land grants. The masked Don Carlos (aka Rosita Castro) uses her operatic voice as a call to arms, singing Ralph Rainger and Leo Robin's "If I Should Love You," "Thunder Over Paradise," "Where Is My Love?," and other selections, but her attempt to lynch accused bandit leader Joe Kincaid (Charles Bickford) fails when government agent Jim Kearney (John Boles) puts a stop to the unlawful proceedings. Despite interference from Don Castro (H.B. Warner), who has promised his daughter to Don Louis Espinoza (Don Alvarado), Kearney falls in love with the songstress, unaware that she is Don Carlos. But when Kincaid and his hordes storm the Castro rancho, Kearney is battling right alongside the lovely vigilante. Rose of the Rancho had previously been filmed in 1914 by Cecil B. De Mille as a vehicle for silent star Bessie Barriscale. ~ Hans J. Wollstein, Rovi
- Starring:
- Gladys Swarthout, Charles Bickford, (more)
- 1935
MGM loaned Myrna Loy to Paramount to co-star with Cary Grant in the roller coaster-paced romantic drama Wings in the Dark. Loy plays daredevil aviatrix Sheila Mason, who marries Ken Gordon (Grant), a flyer with serious aspirations to set groundbreaking world records. When Ken is accidentally blinded just before he jets off for Paris, Sheila prompts him to continue working at any cost. He decides to become a writer, dictating his work and mailing it off to several magazines; all he receives for his trouble is a pile of rejection slips, but Sheila doesn't let him know that. In the mean time, he works out a fantastic invention -- a plane designed for "blind flying," which enables the pilot to command the craft without the use of his eyes. His plane is repossessed for lack of payment, cluing him into what Sheila has been up to with his articles. Infuriated, he severs all communication with her. In an effort to drive Grant out of her mind, Sheila then undertakes a Moscow-to-Manhattan flight and thus attempts to set a new world record of her own. But on the last leg of her journey -- over Boston -- she becomes surrounded by thick blankets of heavy fog, and cannot locate the airport. At the last moment, Ken steals his own plane from Roosevelt Field, takes it up, and uses it to guide Sheila back to the ground, where he declares his undying love and devotion to her. ~ Hal Erickson, Rovi
- Starring:
- Myrna Loy, Cary Grant, (more)
- 1935
A follow-up to the highly successful Bolero, this lively romantic drama stars George Raft as Joe Martin, a Cuban-American dancer who lives and works in Havana with his lovely partner Goldie Allen until a bad case of varicose veins forces impacts his career. One night, the beauteous gringa heiress Diane Harrison (Carole Lombard) comes to the club. Joe is immediately smitten. His interest takes a less fleshly turn when he learns that she owns a yacht. When Diane compliments Joe on his moves, her escort gets jealous and a fight ensues. Joe finds himself jobless and flees to the jungle where he learns the rumba from the exotic Carmelita (Margo). He loves the dance and predicts that it will be the next fad. To promote it, he and Margo open a new club in Havana. The place is a smash. Diane returns, is wowed by both Joe and the dance and offers to bring back to his native New York. But Joe came to Havana after ratting on a gangster and if he returns, will surely die. Still, he and Margo decide to take the risk and their choice results in romance. The spectacular dance numbers were choreographed by the famed dance team Veloz and Yolanda. ~ Sandra Brennan, Rovi
- Starring:
- George Raft, Carole Lombard, (more)
- 1935
Advertised by Paramount as "Another Lives of the Bengal Lancers," The Last Outpost actually has more in common with two RKO releases, Friends and Lovers and The Lost Patrol. The story takes place during the Kurdistan campaign in WW I. Left to die in the desert, British officer Michael Andrews (Cary Grant) is rescued by intelligence agent John Stevenson (Claude Rains). While recuperating in the base hospital, Andrews falls in love with his nurse Rosemary (Gertrude Michael) -- who happens to be Stevenson's wife! This romantic entanglement is taken care of only after a climatic battle at a remote outpost in the Sudan, with Andrews and a skeleton crew desperately fending off hostile Kurdish tribesmen while awaiting reinforcements. ~ Hal Erickson, Rovi
- Starring:
- Cary Grant, Claude Rains, (more)
- 1935
Never mind the title and the musical content: College Scandal is at heart a murder mystery, and a pretty suspenseful one at that. Several mysterious killings have taken place at a co-ed college, and it looks as though there won't be anyone left alive to appear in the annual campus musical. The police, headed by the irascible Chief Magoun (William Frawley) are at a loss to solve the murders, so the students take it upon themselves to play detective. It is college cutie Sally Dunlap (Arline Judge) who discovers that the killing spree is related to the accidental death of a student during a long-ago fraternity hazing. The film's most startling moment occurs when music student Paul Gedney (Johnny Downs) is knocked off while singing his latest composition, ironically titled "In the Middle of a Kiss." College Scandal was remade in 1942 as Sweater Girl. ~ Hal Erickson, Rovi
- Starring:
- Arline Judge, Kent Taylor, (more)
- 1934
A European princess heads for New York in order to see if the U. S. will back her country's bond issue. Unfortunately, she is afflicted with the mumps and ordered to bed. This is an ill turn for the banker planning to issue the bonds for if the princess reneges upon her public engagements, the deal could fall through and he will lose a huge commission. Thinking quickly, he starts looking for a look-alike. He soon discovers an impoverished actress who fits the bill. Trouble brews when a prominent and somewhat xenophobic newspaper publisher gets wind of the entire scam. ~ Sandra Brennan, Rovi
- Starring:
- Sylvia Sidney, Cary Grant, (more)
- 1934
In this drama, two carneys, a card-sharp, and a peep-show performer, find themselves booted out of the show and decide to team up--platonically. They immediately get adjoining rooms in a hotel. Though the huckster constantly tries to romance the girl, she demurely rejects him. He comes to respect that; and she eventually comes to respect him, despite his tough-guy posturing. Together they try to eke out a living, but eventually, both are arrested: he for purse-snatching, and she for a past offense. In court the card-player staunchly defends the girl. The judge is so moved, that he drops all charges and marries the two. ~ Sandra Brennan, Rovi
- Starring:
- Sylvia Sidney, Fredric March, (more)
- 1934
Adapted from an earlier European film, Wharf Angel stars Dorothy Dell as Toy, a golden-hearted prostitute stranded in San Francisco. Toy finds hope for redemption when she falls in love with Como (Preston S. Foster), a sailor on the lam from a murder charge. In Madame Butterfly fashion, the heroine promises to wait for Como until he is able to clear himself. The fly in the ointment is Como's buddy Turk (Victor McLaglen), who has known Toy (in the Biblical sense) for several years. An inexpensive but fairly credible reconstruction of the 1906 San Francisco earthquake (courtesy of legendary art director William Cameron Menzies) caps this intriguing little romantic melodrama. Alas, leading lady Dorothy Dell was killed in a car crash after appearing in only three films. ~ Hal Erickson, Rovi
- Starring:
- Victor McLaglen, Dorothy Dell, (more)
- 1933
This turn-of-the-century tragedy chronicles the sorrowful travails of a woman who endures a series of devastating losses. ~ Sandra Brennan, Rovi
- Starring:
- Sylvia Sidney, Donald Cook, (more)
- 1933
When the actress girlfriend of a rich man is pursued by a producer, the rich man hires bodyguard Lowe to protect her, but Lowe falls in love with her, too. ~ Rovi
- Starring:
- Edmund Lowe, Wynne Gibson, (more)
- 1932
Victor McLaglen and Edmund Lowe carry their pugnacious Quirt-and-Flagg relationship into the murder mystery genre in Paramount's Guilty as Hell. Actually, there's very little mystery involved, since the audience is informed at the outset that dignified Dr. Tindall (Henry Stephenson) is responsible for the death of his faithless wife (Claire Dodd). Carefully arranging the evidence, Tindall manages to convince the authorities that Mrs. Tindall's lover Frank Marsh (Richard Arlen) is the criminal. Detective McKinley (McLaglen) is ready to declare the case closed, but reporter Russell Kirk (Lowe), who's sweet on Marsh's sister Vera (Adrienne Ames), suspects there's more to the story than meets the eye. Likewise falling for Vera, McKinley grudgingly joins his friendly enemy Kirk in proving Frank's innocence and Tindall's guilt. Released in England as Guilty as Charged, this lightweight thriller was remade, with its delightful surprise ending intact, as Night Club Scandal (1937), with John Barrymore hamming his way through the Henry Stephenson part. ~ Hal Erickson, Rovi
- Starring:
- Edmund Lowe, Victor McLaglen, (more)
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