Mary Currier Movies

In this gangster movie set in the Big Apple, a crime lord strong arms teamsters into paying him protection money. One young trucker with a very pregnant wife, stands up to the thug. His partner also refuses to pay in the hopes that they will help the other truck drivers. Naturally this enrages the king-pin and his mob. Simultaneously an idealistic young attorney is chosen by the DA to do all he can to get that crime boss convicted and off the streets for good. Back on the streets, the mobster manages to force the young trucker into paying up; this causes the man to quit and begin selling tomatoes. The lawyer finds him and offers him a chance to help the government and prosecute the gangster. He accepts and together the two do just that. ~ Sandra Brennan, All Movie Guide

In his last film assignment, portly Walter Connolly fills the title role (in more ways than one) in The Great Victor Herbert. Very little of Herbert's life story is incorporated in the screenplay (a closing title actually apologizes for the film's paucity of cold hard facts); instead, the writers allow the famed composer's works to speak for themselves. In the tradition of one of his own operettas, Herbert spends most of his time patching up the shaky marriage between tenor John Ramsey (Allan Jones) and Louise Hall (Mary Martin). Many of Herbert's most famous compositions are well in evidence, including "Ah! Sweet Mystery of Life", "March of the Toys" and "Kiss Me Again", the latter performed con brio by teenaged coloratura Susanna Foster. Evidently, the producers were able to secure the film rights for the Herbert songs, but not for the stage productions in which they appeared, which may explain such bizarre interpolations as having a song from Naughty Marietta, which takes place in New Orleans, performed before a wintry Alpine backdrop! ~ Hal Erickson, All Movie Guide

This mystery involves a shady family, big business, and the media. The trouble begins when an industrial magnate tries to hush up the murder of his associate so that he can rig the board of directors' election. A newspaper reporter learns of the murder and is determined to find the killer. Unfortunately, he is kidnapped before he can solve the last clues. His brother takes over the case, but he falls in love with a sneaky woman whose boss is the tycoon. Then the dead man's daughter gets involved. This leads the new investigator into a bathroom where the missing corpse is discovered in a bathtub covered in ice. ~ Sandra Brennan, All Movie Guide

No, No, Nanette was the second film version of the popular Otto Harbach-Vincent Youmans Broadway musical. Though slightly updated, the basic plot remains the same, with heroine Nanette (Anna Neagle) entering into a financial arrangement whereby she must answer "No" to every question during a 24-hour period. It's all for the sake of her rogueish uncle (Roland Young), who's heavily in debt thanks to a gaggle of gold-digging chorines. Nanette's task is complicated by her romantic entanglements involving an artist (Richard Carlson) and a flashy theatrical producer (Victor Mature). The songs include "I Want to Be Happy", "Tea for Two" and the title number. Unlike the previous Neagle-RKO Radio-Herbert Wilcox collaboration Irene, No, No, Nanette fizzled at the box office. For many years, the film was withdrawn from circulation because of Warner Bros.' 1950 remake, the Doris Day vehicle Tea for Two. ~ Hal Erickson, All Movie Guide

In this musical, a sharp witted press agent teams up with an unemployed chorine and dubs her "Miss Manhattan" to promote a cheap line of clothing. To escort her about town, the agent invents a "Mr. Manhattan." He then has them fake a marriage. When he realizes that he is in love with his creation, the agent promptly fires "Mr. M" and takes her to the altar personally. Songs include: "Ma, He's Making Eyes At Me," "Unfair To Love," and "A Lemon In The Garden Of Love." ~ Sandra Brennan, All Movie Guide

Having struck pay dirt with its Blondie films, Columbia Pictures launched another "domestic" film series, based on Margaret Sidney's "Five Little Peppers" stories. The third and last entry in the series was The Five Little Peppers in Trouble, neither the best nor worst of this negligible project. Once more, Dorothy Peterson plays the widowed Mrs. Pepper, while her five precocious and resourceful offspring are portrayed by Edith Fellows, Dorothy Ann Seese, Charles Beck, Tommy Bond (best remembered as "Butch" in the Our Gang comedies) and Bobby Larson (replacing Jimmy Leake, who appeared in the first Pepper outing in 1939). Unable to watch over her kids and go to work at the same time, Mrs. Pepper bundles the little Peppers off to boarding school. The Five Little Peppers in Trouble is describable only as "cute"; you take it from there. ~ Hal Erickson, All Movie Guide

This is the celebrated Blondie episode that costars Rita Hayworth, who in 1940 was still just another Columbia contract actress. Hayworth plays an old flame of Dagwood Bumstead's (Arthur Lake), who moves into the Bumstead household when wife Blondie (Penny Singleton) advertises for a boarder. Blondie (Penny Singleton) tries to be civil when she meets Rita, but her true feelings are manifested in a superimposed montage of explosions and gunshots. Innocently caught in a compromising position with Hayworth at a local movie house, Dagwood is shown the door by the heartbroken Blondie. All misunderstandings are swept away by fadeout time in this fifth installment in Columbia's Blondie series. ~ Hal Erickson, All Movie Guide

In this low-budget thriller (which developed something of a cult following among film buffs in the '60s and '70s), Peter Lorre plays Janos Szabo, an immigrant from Hungary who is a skilled craftsman. After he's caught in a fire, his face is horribly scarred; his terrifying appearance makes it impossible for him to get a job. With nowhere else to turn, Janos begins working for the criminal underworld, where he eventually raises enough money to purchase an expensive mask whose expressionless features are only a slight improvement over his distorted visage, but at least allow him to go out in public. However, Janos begins having second thoughts about his life of crime, especially after he falls in love with Helen (Evelyn Keyes), a kind-hearted blind woman. Director Robert Florey supposedly shot this film and Meet Boston Blackie in a mere 24 days. Florey and Lorre would team up again for another offbeat film buff favorite, The Beast with Five Fingers. ~ Mark Deming, All Movie Guide

Robert Montgomery plays saxophone-playing boxer Joe Pendleton, who insists upon piloting his own plane, much to the consternation of his manager Max Corkle (James Gleason). Just before a championship bout, Joe's plane crashes. When he revives, he finds he has been whisked away to Heaven by the overanxious Messenger #7013. Checking with the man in charge, one Mr. Jordan (Claude Rains), Pendleton discovers that he isn't scheduled to die for another 50 years. Joe heads back to earth, only to learn to his chagrin that his body has been cremated. Mr. Jordan is obliged to find Joe a new body; the "candidate" is a business mogul named Farnsworth, who is in the process of being murdered in his bath by his wife (Rita Johnson) and her lover (John Emery). Joe takes over Farnsworth's body, astonishing the murderers by emerging from the bathroom, very much alive (while Joe still looks like Joe to himself and the audience, he looks like Farnsworth to everyone else). Still desirous of winning the upcoming championship, Joe begins to whip Farnsworth's body into shape, even hiring Max Corkle to manage him. It takes some doing, but Joe convinces Max that he is indeed Joe and not Farnsworth (their scenes together are priceless, far better seen than described). Meanwhile, Joe has fallen in love with Bette Logan (Evelyn Keyes), a woman whose father had been ruined by the real Farnsworth. For her sake, he pays back millions of dollars that the crooked Farnsworth had finagled out of his investors. This prompts Mrs. Farnsworth and her lover to kill "Farnsworth" again, and once more Joe Pendleton is without a body. How Mr. Jordan arranges for Joe to win the championship, expose the murderers and walk off arm and arm with Bette is a bit too complex to detail here. Here Comes Mr. Jordan is one of the most consistently clever romantic comedies of the 1940s, and richly deserving of the Oscars won by screenwriters Sidney Buchman, Seton I. Miller and Harry Segall. A sequel, Down to Earth, was filmed in 1947, with Roland Culver as Mr. Jordan; and in 1978, the original Jordan was remade by Warren Beatty as Heaven Can Wait. ~ Hal Erickson, All Movie Guide

Ernst Lubitsch's That Uncertain Feeling was previously filmed by the director in 1925 as Kiss Me Again; both versions were inspired the Victorien Sardou-Emile de Najac bedroom farce Let's Get a Divorce. Six year into her marriage to preoccupied insurance salesman Larry Baker (Melvyn Douglas), Jill Baker (Merle Oberson) develops a case of hiccups. Phlegmatic Freudian psychologist Vengard (Alan Mowbray) suggests that Jill's affliction is caused by marital problems, whereupon she decides to enter into a new relationship with Vengard's star patient, hilariously neurotic concert pianist Sebastian (Burgess Meredith). Magnanimously agreeing to a divorce, Larry nonetheless remains in love with Jill, and she with him. They'll get back together, of course, but not until a multitude of delightful misunderstandings. Outside of Burgess Meredith's brilliant comic performance (obviously patterned on Oscar Levant), the film's highlight finds Larry trying to figure out the gentlest possible way to permit Jill to file for divorce on the grounds of cruelty. ~ Hal Erickson, All Movie Guide

This might be a film about junk mail...but it isn't. Wallace Beery and Marjorie Main are teamed again for this rambunctious western comedy. Beery plays a horse thief who romances saloon owner Main. His goal is to marry the lady and take over her lucrative mail route. He accidentally becomes a hero; she completes the reformation. Jackass Mail made money, but it just wasn't the same as the classic Wallace Beery/Marie Dressler combo of the 1930s. Great title, though. ~ Hal Erickson, All Movie Guide

The Iron Major is the saga of WW1 hero-cum-football coach Frank Cavanaugh, played with his usual no-nonsense professionalism by Pat O'Brien. Leaving home and hearth behind to serve his country in the Great War, Cavanaugh goes on to lead the Dartmouth, Boston College and Fordham football teams to victory. His credo throughout is "Love of God?Love of Country?Love of Family"-inspiriational words indeed in war-torn 1943. Based on the memoirs of Cavanaugh's wife Florence (played in the film by Ruth Warrick), The Iron Major suffers from repetition and overkill. But, as Humphrey Bogart once said in an unrelated interview, "Pat O'Brien was good? Pat was always good." ~ Hal Erickson, All Movie Guide

Campy Bela Lugosi plays a deranged scientist in this Monogram -produced horror movie. This time, Lugosi and his partner John Carradine accidentally discover a Neanderthal frozen in ice. Elated, they haul the iceman back to their lab and prepare to free him. Sure enough the beetle-browed fellow is alive, but he isn't very bright, so Lugosi decides to give him a brain transplant. Carradine is appalled and unfortunately ends up as the donor. After the operation, Lugosi attempts to civilize the missing link. Unfortunately, he cannot and the early hominid ends up on a murderous rampage and must finally be destroyed. This was the last film Lugosi made for the low-budget movie studio. ~ Sandra Brennan, All Movie Guide