Karl Dane Movies

The tall and virile Johnny Mack Brown portrays the short and dyspeptic outlaw William Bonney, a.k.a. Billy the Kid. Wallace Beery is more effectively cast as Pat Garrett, the sheriff who's sworn to bring in Billy dead or alive despite his grudging friendship for the young killer. Hardly the "homicidal moron" described by western historians, the movie's Billy has a certain amount of charm, though he's shown to be a cold-blooded killer when the opportunity arises. The film's ending was shot twice: One ending retained fidelity to the facts by having Garrett kill Billy, while the other denouement allowed Billy to ride into the sunset, as Garrett beatifically looked on. Over the protests of western purists, the second ending was used in the American release version, though the more tragic climax was seen by European audiences. Billy the Kid was originally released in a 70mm widescreen process called Realife; to avoid confusion with MGM's 1941 Billy the Kid, the earlier film has been retitled The Highwayman Rides for television. ~ Hal Erickson, All Movie Guide

Buster Keaton's talkie debut (discounting his non-speaking guest appearance in Hollywood Revue of 1929) was Free and Easy, an uneven but generally amusing comedy with a Hollywood setting. When pretty Elvira (Anita Page) of Gopher City, Kansas wins a beauty contest, her prize includes a trip to Tinseltown and a screen test at MGM. Appointing himself protector of Elvira and her formidable mother (Trixie Friganza), gas-station attendant Elmer Butts (Keaton) accompanies them to California. Once they've arrived, Elmer manages to disrupt the daily MGM routine, stumbling into films in progress, knocking over sets and breaking props, and finding himself taking a screen test in which he repeatedly blows the single line "The queen has swooned" ("The sween has quooned", "The coon has sweened") over and over. Meanwhile, latin-lover film star Lorenzo (Robert Montgomery) sets his sights on innocent Elvira, attempting to seduce her while Elmer's back is turned. But Lorenzo turns out to be a good guy -- in fact, his real name is Larry, and he's a Kansas boy himself -- and he arranges for Elvira to get her big break. In a surprise turnaround, Elvira doesn't win a contract, but Elmer and Elvira's mom become popular musical-comedy stars! The film is studded with guest appearances by such MGM contractees as directors Cecil B. DeMille, Lionel Barrymore, Fred Niblo, and actors Gwen Lee, John Miljan, William Haines, Karl Dane and Keaton's then-girlfriend Dorothy Sebastian. Free and Easy was also filmed in French, Spanish and German-language versions, with Keaton speaking his words phonetically in all three. The film was remade as Pick a Star in 1937, and as Abbott and Costello in Hollywood in 1945. ~ Hal Erickson, All Movie Guide

Joan Crawford and Johnny Mack Brown star in this high budget horse opera from M-G-M. She is Joan Prescott, a spoiled debutante en route to the family ranch in Montana and he is the cowboy she meets and marries after impulsively departing the train at a whistle stop. Surprising everyone, Papa Prescott (Lloyd Ingraham) is only too willing to welcome Larry Carrigan (Mack Brown) into the family, Larry being exactly the opposite of the slick society swells that Joan usually dates. But our Joan just can't help cutting the rug with old beau Jeff Pelham (Ricardo Cortez) and a jealous Larry slugs him. An angry Joan hops the next train back to New York but suddenly finds herself a victim of a gang of outlaws. A gang that seems mighty familiar! Co-written by executive producer Irving Thalberg's sister Sylvia, Montana Moon comes complete with songs by house composers Arthur Freed, Nacio Herb Brown and Herbert Stothart, including "The Moon is Low", "Happy Cowboy" and "Let Me Give You Love". ~ Hans J. Wollstein, All Movie Guide

Karl Dane, the hulking comedy relief in many an MGM film, is top-billed in the FBO action melodrama Voice of the Storm. Dane and Warner P. Richmond play a couple of rough-and-tumble telephone lineman who find themselves up to their hip-boots in danger when Richmond falls in love with scientist's daughter Martha Sleeper. While working on a mysterious "doomsday" weapon, the scientist is murdered by an enemy spy and his formula is stolen. Richmond is blamed for the murder, whereupon Dane decides to play detective and track down the real killer. Just as Dane and Sleeper find the evidence necessary to free Richmond, the latter is preparing to take the "long walk" to the electric chair. With all the telephone lines down, Dane must brave a ferocious storm to rescue his pal (A question: If the power lines are down, wouldn't that affect the "chair" as well?) ~ Hal Erickson, All Movie Guide

Although both of their starring careers would be cut short by the talkie revolution, MGM house comedians Karl Dane and George K. Arthur were still riding high in 1929 with such silent vehicles as China Bound. In this outing, the towering Dane and the diminutive Arthur find themselves smack in the middle of a Chinese revolution. Endeavoring to escape, our heroes disguise themselves as "typical Orientals," buck teeth, pigtails, and all (which may be why this film isn't revived very often these days). Polly Moran, who appeared in most of the Dane-Arthur comedies, is back again in this adaptation of a screenplay by Sylvia Thalberg (sister of MGM head-honcho Irving Thalberg). After his fall from stardom, George K. Arthur went into the production end of the business, but Karl Dane was not so lucky; despondent over his dormant career, he committed suicide in 1934. ~ Hal Erickson, All Movie Guide

Jules Verne's fantastic 19th century novel Mysterious Island provided the title and little else for this spectacular filmization. Lionel Barrymore plays an altruistic scientist who has built an underground city, hoping to use the modernistic devices he has installed to bring about world peace. But evil Slavic nobleman Montagu Love, whom Barrymore regards as a friend, has other plans. He kidnaps Barrymore's daughter and forces the kindly scientist to gear up his inventions to make war. With the help of hero Lloyd Hughes, and with the unexpected assistance of a race of duck-like underwater humanoids, Barrymore destroys his subterranean domain and foils the villain's plans--at the cost of his own life. Though essentially a silent film, Mysterious Island includes several well-integrated sound sequences; its highlight was a Technicolor submarine ride, which unfortunately exists only in black and white today. The 1961 version of Mysterious Island has absolutely nothing to do with the 1929 version beyond its claim (again) to be based on the Verne original. ~ Hal Erickson, All Movie Guide

Circus Rookies was a by-the-numbers vehicle for MGM's Mutt-and-Jeff comedy team of George K. Arthur and Karl Dane. As indicated by the title, our heroes -- this time playing a reporter named Francis Byrd and an animal trainer named Oscar Thrush -- join a travelling circus, where they are put to work as menial laborers. Francis and Oscar are smitten by pretty aerialist Belle (Louise Lorraine), prompting both men to perform some rather foolhardy feats of valor. Despite their monumental stupidity, the boys manage to save Belle and everyone else in the circus when a crazed gorilla (played by cowboy star Fred Humes!) goes on a rampage in a runaway train. Circus Rookies was followed in short order by two more Arthur-Dane epics, Brotherly Love and All at Sea, each film cut from the same formula cloth. ~ Hal Erickson, All Movie Guide

Filmed in 1917 with Frank Morgan and in 1921 with Fatty Arbuckle, Baby Mine was brought to the screen a third time in 1928. This time, the warhorse Margaret Mayo stage play was refashioned into a vehicle for the MGM comedy team of Karl Dane and George K. Arthur. The plot remains as always: Dane's wife Charlotte Greenwood, hoping to win back her husband after an argument, claims that she's delivered a bouncing baby boy. This time around, Dane and Arthur engage in some broad but hilarious byplay concerning diapers. There's also an amusing vignette involving a midget (smoking the inevitable cigar). For reasons unknown, Baby Mine was never remade as a talkie. ~ Hal Erickson, All Movie Guide

One of the most popular baseball films ever made, Slide, Kelly, Slide also solidified the stardom of MGM leading man William Haines. In his usual brash, cocky manner, Haines is cast as Jim Kelly, a self-styled baseball whiz who talks himself into a job with the New York Yankees. Though his boundless braggadocio is backed up by his talent on the baseball field, Kelly soon alienates himself from the rest of his teammates, who can't stand his arrogant behavior. Veteran Yankee catcher Tom Munson (Harry Carey) -- also the father of Kelly's sweetheart Mary (Sally O'Neil) -- tries to set the young upstart straight, but Kelly isn't interested. Upset because he feels the team isn't on his side, Kelly gets drunk on the eve of an important game in Chicago. Mary doesn't want him to get fired, so she hides him in her hotel room. When Tom shows up he tries to talk some sense into Kelly, but the hot-headed young player unleashes his invective on Tom, calling the aging player an old has-been in full earshot of the entire team. This shameful display thoroughly disillusions Yankee batboy Mickey (Junior Coghlan) who, up to that moment, worshipped Kelly.

After quitting the team, Kelly makes himself scarce during the deciding World Series game. When the team runs out of pitchers, little Mickey decides to seek out Kelly and beg him to return -- only to be struck down by a truck. Realizing that Mickey will recover only if he redeems himself, Kelly returns to the Yankee roster and scores the winning run without resorting to his usual show-off tactics. As the recovered Mickey is wheeled into Yankee Stadium, Kelly reverts to his old boastful self, but by now, everyone -- including Mary -- realizes that our hero is truly a reformed man. Filmed on location at the Yankee's spring training camp in Florida and at Los Angeles' Wrigley Field (one of the best minor-league stadiums in America), Slide, Kelly, Slide boasts cameo appearances from such real-life baseball luminaries as Mike Donlin, Irish Meusel, Bob Meusel, Tony "Poosh-em-Up" Lazzeri, and umpire John "Beans" Reardon. As a bonus, football-star-turned-actor Johnny Mack Brown makes his film debut in a one-scene bit part. ~ Hal Erickson, All Movie Guide

This lavish adaptation of Victor Herbert's operetta The Red Mill proved to be one of Marion Davies' most delightful and best-received silent vehicles. Davies is cast as Dutch barmaid Tina, who falls in love with handsome hero Dennis (Owen Moore). Alas, Dennis doesn't return her affections, whereupon Tina mounts a campaign to win his heart -- while simultaneously smoothing the romantic path for her friends, burgomeister's daughter Gretchen (Louise Fazenda) and army captain Jacob (Karl Dane). There's a bit of comic suspense when Tina -- disguised for plot purposes as Gretchen -- is accidentally locked in the titular mill, which is rumored to be haunted, but she manages to escape in time for a happy denouement. Beyond its romantic trappings, The Red Mill is full of wonderful slapstick moments, notably an opening scene in which the heroine tries her luck on ice skates, only to wind up covered in snow from head to foot. The film was directed by one "William Goodrich", actually a pseudonym for rotund comedian Roscoe "Fatty" Arbuckle, whose film career had been destroyed five years earlier in the wake of a messy scandal (Davies was endeavoring to help Arbuckle make a comeback -- even though her publisher boyfriend William Randolph Hearst had been largely responsible for his downfall!) It has long been assumed that the public was totally unaware that Goodrich and Arbuckle were one in the same, but contemporary reviews of The Red Mill indicate that William Goodrich's true identity was an open secret. ~ Hal Erickson, All Movie Guide

Amidst much fanfare, Lillian Gish was signed to a fabulous MGM contract in 1925 which not only assured her $400,000 per picture but also gave her complete control over her productions, including choice of co-stars and directors. For her inaugural MGM effort, Gish selected La Boheme, the theatrical version of Henri Murger's 1851 novel The Latin Quarter. Thanks to copyright conflicts, MGM was unable to use the plot elements from the Giacomo Puccini opera based on the Murger book (there'd been plans to prepare a musical score based on Puccini's themes, but these fell through at the last moment), so scriptwriter Ray Doyle and Harry Behn relied almost exclusively on the original novel. Gish is cast as Mimi, the fragile little seamstress who takes up residence in Paris's "artists colony." Here she falls in love with aspiring painter Rodolphe (John Gilbert), who though professing undying devotion and dedication to Mimi cannot help but dally with other girls. To finance Rodolphe's artistic career, Mimi pawns all of her belongings and takes a series of back-breaking jobs, destroying her health in the process. Only when Mimi is on her deathbed does Rodolphe realize the extent of her sacrifices -- and of his love for her. Renee Adoree co-stars as the saucy Musette, whose double-entendre antics are toned down here, while Edward Everett Horton steals several scenes as Rodolphe's musician pal Colline. Though John Gilbert hams it up, Lillian Gish's brilliant performance is a model of restraint and subtlety. For her final scene, the actress went to appalling lengths to convincingly simulate death, going without water for three days and training herself to breathe without discernible movement (even when seen today, the effect is startlingly real). Available only for archival showings until the early 1970s, a restored version of La Boheme was reissued theatrically in 1978, while an even better restoration was made available to television in the 1990s through the auspices of the Turner Classic Movies cable service. ~ Hal Erickson, All Movie Guide