Gennaro Curci Movies

Juarez was originally designed to concentrate almost exclusively on the tragedy of Hapsburg Emperor Maximillian, whose attempts to establish a puppet government in Mexico on behalf of Napoleon III ended in disaster and death. But when Paul Muni decided that he wanted to play Zapotec-Indian-turned-Mexican President Benito Pablo Juarez, the film's emphasis perceptibly shifted -- and Bette Davis, cast as Empress Carlotta, was shunted to second billing rather than first. Muni's makeup and costuming convincingly transforms him into Juarez incarnate. But unlike his other historical impersonations (Pasteur, Zola), Muni's Juarez is a one-note characterization: stoic, uncompromising, and v-e-e-r-y slow of speech. Far more exciting dramatically is Bette Davis as Empress Carlotta, whose highly stylized descent into madness is a tour de force both for the actress and for director William Dieterle. Claude Rains and Gale Sondergaard, as Napoleon III and Empress Eugenie, in essence repeat their diabolical characterizations from Anthony Adverse (1936), while John Garfield is singularly miscast as Pofirio Diaz. The best performance is delivered by Brian Aherne, whose kindly, honorable Emperor Maximillian is less a despot than a misguided political pawn. When Aherne, about to be executed at Juarez' orders, requests that his favorite Mexican song "La Paloma" be played as he is led before the firing squad, audience sympathies are 100% in Maximilian's corner--which was not quite what the filmmakers intended. Based largely on Bertita Harding's book The Phantom Crown (the film's original title), Juarez takes every available opportunity to parallel its title character's fight against foreign intervention with the then-current European situation. To protect their investment in Juarez Warner Bros. purchased outright a like-vintage Mexican film on the same subject, The Mad Empress, suppressing the latter film's release in the United States. ~ Hal Erickson, All Movie Guide

In this musical sequel to the highly successful Artists and Models, Jack Benny plays Buck Boswell, the leader of a troupe of performers who end up broke and stranded in gay Paris. To rustle up a little cash, he decides to produce a musical fashion show. Boswell hires an American father and daughter to perform because he thinks they too are impoverished. Things happen, and Boswell nearly loses his show until his two Yanks reveal that they are loaded. ~ Sandra Brennan, All Movie Guide

Opera diva Grace Moore plays (what a stretch!) an opera diva in I'll Take Romance. Moore reneges on an agreement to open the opera season in Buenos Aires, opting instead for a better-paying job in Paris. Melvyn Douglas, acting on behalf of the Buenos Aires company, pretends to fall in love with Moore in order to win her back--but soon discovers to his surprise that he's not pretending at all. Ms. Moore sings selections from Manon Lescaut, Madama Butterfly and La Traviata. and also warbles the title song, which became a hit and subsequently popped up as background music in many a future Columbia production. I'll Take Romance barely has a plot at all, though fans of Grace Moore weren't complaining. ~ Hal Erickson, All Movie Guide

In this musical comedy, a crooked record producer uses his mob connections to force performers to do their stuff. The trouble really begins when the gangster's strong-arm tactics nearly cause a singer to lose his fiancée. A wide variety of entertainers appear including cowboy crooner Gene Autry, baseball hero Joe DiMaggio, and big band stars Cab Calloway, Ted Lewis, and the Kay Thompson Singers. Songs include "Mamma I Wanna Make Rhythm," "Manhattan Merry-Go-Round," "Heaven?," "I Owe You," and "It's Round-up Time in Reno." ~ Sandra Brennan, All Movie Guide

When widower Stephen Blake (Melvyn Douglas) and divorcee Edith Farnham (Mary Astor) are the only guests at a snowed-in mountain resort, sports director Snirley (Romaine Callender) and hostess Alma Peabody (Dorothy Stickney) try to promote a romance between Stephen and Edith. However, Stephen's son Tommy (Jackie Moran) and Edith's daughter Brenda (Edith Fellows) think this is a rotten idea and do what they can to prevent them from getting together. ~ Bill Warren, All Movie Guide

American opera baritone George Houston, who later gained a measure of fame as a western hero, made his film debut in The Melody Lingers On. Houston plays Salvini, a dashing Italian army captain who enjoys a brief romantic fling with concert pianist Ann Prescott (Josephine Hutchinson). Their dalliance results in an illegitimate baby -- and, by extension, brings about Salvini's death when he saves the lives of Ann and the child. Raised by foster parents, Ann's son Guido (Dave Scott) grows up to become a talented musician, never suspecting that his gifts have been inherited; meanwhile, Guido's mother does penance for past sins in an Italian convent. A ruthless assault on the tear-ducts, The Melody Lingers On was adapted from a novel by Lowell Bretano. ~ Hal Erickson, All Movie Guide