Lona Andre Movies

Celebrity fan-dancer Sally Rand, the undraped sensation of the 1933 Chicago World's Fair, was the star of the 1938 Grand National production The Sunset Murder Case. Borrowing a page from the Bob Steele westerns, La Rand is cast as a nightclub dancer who hopes to avenge her father's murderer. She gets a job in the establishment run by the man she holds responsible for the killing, maintaining a harmless front by performing a nightly exotic dance (which by 1990s standards is about as erotic as a plastic shower curtain). In his first leading role, Reed Hadley plays the hero who rescues Sally in the nick of time, while Henry King's orchestra provides the music. In perpetual reissue well into the 1940s and 1950s (this synopsis is based on its 1941 re-release), Sunset Murder Case was sometimes retitled The Sunset Strip Case on the grind-house circuit. ~ Hal Erickson, All Movie Guide

Filmed on a budget of about 78 cents, High Hat was a foredoomed attempt to turn radio singer Frank Luther into a movie star. Luther struggles manfully in the role of Suwanee Collier, the boyfriend and mentor of aspiring vocalist Elanda Lee (Dorothy Dare). A classical singer, Elanda refuses to lower herself to perform "swing" music until Collier shows her the way. Such reliable character actors as Franklin Pangborn, Gavin Gordon, Robert Warwick, Esther Muir and Clarence Muse go a long way to relieve the overall tedium. High Hat was distributed on a states-rights basis by Imperial Films, a fly-by-night firm best known for the Bela Lugosi epic Murder by Television. ~ Hal Erickson, All Movie Guide

One is immediately aware that The Plainsman is a Cecil B. DeMille production in the opening scene, wherein President Abraham Lincoln (Frank McGlynn Sr.), on the verge of signing crucial legislation which will determine the future of the American West, is dragged away from his Cabinet by a scolding Mrs. Lincoln (Leila McIntyre), who informs her husband that he'll be late for the theater! The story proper picks up in the years just following the Civil War, as crooked arms dealer John Lattimer (Charles Bickford) schemes to sell a huge shipment of repeating rifles to the Indians. Constantly thwarting Lattimer's schemes is lawman Wild Bill Hickok (Gary Cooper), who soon forms a strong alliance with Indian scout Buffalo Bill Cody (James Ellison). Rambunctious Calamity Jane (Jean Arthur) is crazy about Wild Bill, but he refuses to have anything to do with her, contemptuously wiping his mouth whenever he kisses her. He prefers the company of winsome Louisa (Dorothy Burgess), but gallantly steps aside when Louisa marries Buffalo Bill. Upon learning that a band of Indians armed with Lattimer's rifles have attacked a military garrison, Wild Bill tells General Custer (John Miljan), who in turn sends Buffalo Bill to the garrison with a consignment of weapons. Wild Bill then tries to arrange a peace conference with Indian chief Yellow Hand (Paul Harvey), but is sidetracked when he sees Calamity Jane being captured by two Indian braves. Riding to her rescue, Wild Bill is himself captured and tortured in the hope that he'll reveal the whereabouts of Buffalo Bill and his weapons. He refuses to talk, but Calamity, horrified at the agony endured by Wild Bill, tells all. Her breach of confidence leads indirectly to Custer's death at the Little Big Horn (not seen, but described by a young Indian played by DeMille's then son-in-law Anthony Quinn), whereupon Wild Bill disgustedly breaks off all communication with her. Hoping to make up for her past sins, Calamity warns Wild Bill that Lattimer has come to town a-gunning for him. Wild Bill makes short work of Lattimer, only to be shot in the back by the villain's snivelling confederate Jack McCall (Porter Hall). As he breathes his last, Wild Bill forgives Calamity for revealing the whereabouts of the ammunition; with tears in her eyes, Calamity plants a kiss on Wild Bill's lips that he'll never wipe off. As can be seen, accuracy is not the strong suit of The Plainsman; DeMille, like Buffalo Bill before him, was more interested in putting on a helluva good show than offering a dry history lesson. Unfortunately, the film often promises more than it can deliver, thanks to DeMille's insistence upon filming more of his big scenes indoors and relying far too heavily on grainy process screens. Still, the DeMille version of The Plainsman is infinitely more entertaining than the 1966 remake with Don Murray and Abby Dalton. ~ Hal Erickson, All Movie Guide

What would an "exploitation" film of the 1930s be without Wheeler Oakman in the cast and Sam Newfield in the director's chair? In Crusade Against Rackets, Oakman is his usual slimy self as Jim Murray, the head of a big-city vice ring. His "cover" is an outwardly respectable beauty parlor, where the girls perform services far above and beyond the call of duty. Innocent manicurist Dona (Lona Andre) is targeted as the ring's latest victim, and boy, does she suffer at the hands of Murray and his confederates. Much of the action takes place in a nightclub, featuring several genuine (and hilariously superfluous) cabaret acts. Among the more grotesque supporting villains is "Good Looking Freddie" (Matty Roubert), who is anything but. ~ Hal Erickson, All Movie Guide

Scoutmaster Elmer Brown (Buster Keaton) loses his heart to the pretty carhop (Lona Andre) who works in a drive-in diner. Complicating his romantic longings is her policeman fiancé (Harold Goodwin). When he tries to eliminate Elmer by giving him traffic tickets for every conceivable violation, the girl takes pity on the martyred Elmer and they drive off together. She informs him that she is also fending off another suitor, Oscar (Grant Withers); and to make matters worse, her father is backing the cop while her mother promotes Oscar. Eventually all three men wind up competing for her hand at a chaotic wedding ceremony that ends with Elmer winning his beloved. ~ Nicole Gagne, All Movie Guide

An airborne serial killer terrorizes a group of war veterans in this ultra-cheap but fairly engrossing whodunit produced by one of Hollywood's few women executives, Fanchon Royer. Assigned to investigate a series of flight disasters committed by a phantom aircraft bearing only the legend "X," veteran test pilot Jerry Blackwood (John Carroll) learns from Dr. Norris (John Elliott) that the killer in all likelihood is a veteran of the last war suffering from "battle neurosis." Jerry gathers a group of fellow veterans at the plant operated by aircraft manufacturer Henry Goering (Henry Hall), an assembly consisting of Baron Von Guttard (John Peters) of the German Luftwaffe, the French pilot René LaRue (Gaston Glass), the British Captain Saunders (Pat Somerset), and American Douglas Thompson (Wheeler Oakman), late of the famous Lafayette Escadrille. Also present is the mysterious Lieutenant Ives (Reed Howes) and Carl (Leon Kent), Goering's son, who seems to know a great deal about Von Guttard. The German, however, is the first to die during an airborne patrol, closely followed by LaRue. Saunders, meanwhile, seems to come completely unhinged and remains the obvious suspect when Dr. Norris is found murdered. The real "Pilot X," however, is someone completely different, as Jerry and Goering's ward, Helen Gage (Lona Andre), learn the hard way. ~ Hans J. Wollstein, All Movie Guide

Working on the theory that the only thing funnier than Laurel and Hardy is two sets of Laurel and Hardys, Our Relations milks its central mistaken-identity situation for all it's worth. Stan Laurel and Oliver Hardy are two solid citizens, happily married and highly respected in their community. One morning, Hardy receives a letter from his mother, containing an old photo of himself and Laurel with their twin brothers, Alf Laurel and Bert Hardy. Mamma also reveals that Alf and Bert turned out to be "bad lads" and ran off to sea, and that reportedly they'd been hanged for taking part in a mutiny. "Isn't that calamitous!" remarks Hardy, who conspires with Laurel to hide the facts about their no-good brothers from their wives. Meanwhile, in another part of town, the S.S. Periwinkle pulls into port. Among the crew members are the selfsame Alf and Bert, who have decided to entrust their pal Fin (James Finlayson) with their month's salary. Fin has promised to invest the dough so that the boys will become millionaires "before you can say Jack Robinson". Alf and Bert are then summoned to the cabin of their captain (Sidney Toler), who orders them to pick up a valuable package for him, then meet him later at Denker's Beer Garden. While waiting for the captain at Denker's, Alf and Bert are captivated by a pair of waterfront floozies, Alice (Iris Adrian) and Lily (Lona Andre). Talked into buying the girls a huge meal for which they haven't the necessary funds, Alf and Bert decide to go back to Fin and reclaim their money, leaving the contents of the captain's package-a valuable pearl ring-with tough waiter Joe Groagan (Alan Hale) as security. Later, Laurel and Hardy take their wives Betty (Betty Healy) and Daphne (Daphne Pollard) to lunch-and, inevitably, they end up at Denker's Beer Garden, where the equally inevitable mix-ups begin to occur. Things snowball from bad to worse before both sets of twins, an angry captain, a disgruntled Fin, the wives, the floozies, a genial drunk (Arthur Housman) and a brace of smooth gangsters (Ralf Harolde and Noel Madison) all converge at the upscale Pirate Club. Several slapstick complications later, Laurel and Hardy are captured by the gangsters, who threaten to dump the boys in the river with their feet encased in cement if they don't cough up the pearl ring. Alf and Bert come to the rescue, and all is well, at least until the film's boffo punchline. Based on W.W. Jacobs' short story The Money Box, Our Relations is perhaps the most plot-heavy of Laurel and Hardy's features for Hal Roach Studios. It is also one of their funniest, as well as their most lavishly produced. The film was officially listed as "A Stan Laurel Production"-as if Laurel hadn't been the prime creative force behind all of the team's previous films. ~ Hal Erickson, All Movie Guide

In this emotional but fast-paced comedy, a husband/businessman creates an ingenious cure for his mid-life crisis. He suggest to his wife that they take separate vacations and not discuss them with each other afterward. The wife isn't sure, but being a loving and understanding woman, agrees to the terms. The husband, dreaming of all the luscious young girls to be had, is happy as a kid in a candy store. Unfortunately for him, things don't happen as planned and he gets zippo. His wife, on the other hand, ends up falling for a younger man. When he proposes, the wife is sorely tempted, but then realizes she really does love her husband. The would-be wayward husband also reawakens to love and domestic bliss ensues. ~ Sandra Brennan, All Movie Guide

Dialogue only punctuates this inventive, near-silent two-reeler starring the great Buster Keaton. He plays the titular Elmer, who operates a rickety gas station in the California desert. A rival station opens for business right across the road from him, and the rivalry becomes personal when the two gas jockeys compete for the attention of a lovely lady motorist (Lona Andre). Learning she will attend a local baseball game, the men join opposing teams and wage an all-out grudge match that ends with Elmer scoring the winning run. Note the uncredited outfielder: That's the legendary Olympic athlete Jim Thorpe. ~ Nicole Gagne, All Movie Guide

Lost in the Stratosphere is one of three Monogram vehicles for James Cagney's look-alike brother William (later a successful producer). Inspired by the U.S. Army's recent experiments with atmospheric balloons, the film stars Cagney and Edward Nugent as inveterate practical jokers Cooper and Wood. Their friendship cleft in twain by the arrival of pretty Evelyn (June Collyer). The climax occurs when one of the boys' pranks misfires, sending both of them aloft in a fragile weather balloon. By the time they've managed to land the darned thing, they've become heroes. The film's laughable special effects (one can see the process-screen clouds "bleed" through the actors) are counterbalanced by the overall energy and enthusiasm of its stars. ~ Hal Erickson, All Movie Guide

In this western-style musical, a rakish gaucho rides off across the Argentine pampas to Buenos Aires in search of his stolen horse. Once there, he soon engages in hot pursuit of a lovely singing señorita. Soon he discovers that her manager just may be the thief he has been looking for. Keep a sharp eye out for a young Rita Cansino (later known as Rita Hayworth) in an early performance as a dance hall girl. Songs include: "Zamba" (Arthur Wynter-Smith), The Gaucho" (Buddy De Sylva, Walter Samuels), "Querida Mia" (Paul Francis Webster, Lew Pollack), "Love Song of the Pampas," "Veredita," and "Je t'Adore" (Miguel de Zarraga, Cyril J. Mockridge). ~ Sandra Brennan, All Movie Guide

Woman Unafraid stars venerable character actress Lucille Gleason as Officer Winthrop, a no-nonsense but golden-hearted policewoman. Winthrop serves as den mother and confidante for wayward girls on parole, and also keeps a watchful eye on the dance halls in her district. With the help of a former gun moll Peggy (Lona Andre), our heroine gets the goods on Luciano-like gangster boss Big Bill Lewis (Jason Robards Sr.) "B"-picture habitues Skeets Gallagher and Warren Hymer make significant contributions, but it's Gleason's picture all the way. Produced by low-budget Goldsmith Pictures, A Woman Unafraid was helmed by house director William J. Cowan, who'd previously handled Monogram's not-uninteresting 1933 adaption of Oliver Twist. ~ Hal Erickson, All Movie Guide