Kitty McHugh Movies

In this drama, a young woman is hired to take care of an eerie old mansion. There she finds herself entangled with an enigmatic murderer. ~ Sandra Brennan, All Movie Guide

It's time to get Shemped with this home video collection, which serves up three Three Stooges shorts featuring Shemp Howard, Larry Fine, and Moe Howard at their comic best. Listen Judge finds the Stooges charged with vagrancy, so they try to be on their best behavior when they're hired to repair a wealthy woman's doorbell -- but after they scare away the servants, the boys wind up helping the lady of the house stage a birthday party that soon becomes a disaster. Moe, Larry, and Shemp invent a youth elixir in Bubble Trouble; their landlord (who is ready to evict them) is impressed when the potion shaves a couple decades off of his wife, but when he takes a bit too much himself, the results are surprising! And in Dunked in the Deep, the Stooges discover that their next door neighbor is a spy working for an enemy nation. He's stashed some secret microfilm inside a melon, and the boys are determined to find it and turn their neighbor over to the police, before the information falls into the wrong hands. ~ Mark Deming, All Movie Guide

Warren Quimby (Richard Basehart) has a problem that he won't admit to: his wife, Claire (Audrey Totter), wants more fun and excitement out of life than the quiet, soft-spoken pharmacist can give her. So she steps out on him regularly, something that Warren refuses to recognize until the day she packs her bags and announces she's moving in with Barney Deager (Lloyd Gough), the flashy, high-living salesman whom she's been seeing on the side. Warren goes to Deager's, to ask her to come back, and gets beaten up by his rival. The worm suddenly turns in his own quiet way of doing things, and Warren decides he's going to get even -- he's going to murder Deager, but to do it and not get caught, he bides his time. He begins building a new identity for himself, changing his appearance (starting with getting rid of his thick glasses in favor of then-newly-invented contact lenses), and establishing his alter ego of "Paul Sothern" at a new address. He then starts making threatening calls to Deager, identifying himself as Sothern, in order to establish a history of enmity between the two. It's all going according to plan -- he will kill Deager and the blame will fall on "Sothern," who, of course, doesn't exist, and will have vanished. But then he meets Mary Chanler (Cyd Charisse), a neighbor at "Sothern"'s apartment building, and the two become attracted to each other. For every step forward that he takes in his plan for murder, he also finds himself with new possibilities in his life, growing out of his relationship with Mary. Finally, the night comes when he breaks into Deager's home and is about to kill him, when it dawns on Warren that he doesn't need to do this....He awakens Deager and tells him what almost happened and that he's leaving, and Deager is welcome to Claire, and leaves. It seems as though he's averted disaster when Claire shows up later that night, pleading for reconciliation and finally, when pressed, telling him that someone has murdered Deager. The man has been shot, and the police, led by lieutenants Bonnabel (Barry Sullivan) and Gonsales (William Conrad), are hunting for Paul Sothern. Now Warren is scared for his life, having done his best to frame himself, and Claire isn't helping by trying to run interference -- he can't tell if she's trying to protect the two of them, implicate Sothern, or protect herself, and he's too scared to say almost anything at all to the detectives. ~ Bruce Eder, All Movie Guide

To fully appreciate The More the Merrier, it is important to know that, during WW2, there was an acute housing shortage in Washington DC. This is why elderly Benjamin Dingle (Charles Coburn) is obliged to share a tiny DC apartment with pretty Connie Milligan (Jean Arthur) and handsome Joe Carter (Joel McCrea). After nearly two reels of misunderstandings, the trio becomes accustomed to their curious living arrangement. Joe takes a platonic liking to Connie, but she's engaged to stuffy bureaucrat Charles J. Pendergast (Richard Gaines). Sizing up the situation, foxy Benjamin contrives to bring Connie and Joe together, in spite of themselves. Things get dicey when Joe endeavors to complete a top-secret mission for the Air Force, which leads to all sorts of comic complications and misguided remonstrations. Throughout the film, director George Stevens and the four-man screenwriting staff deliberately tweak the noses of the Hays Office, getting by with any number of censorable offenses by deftly and tastefully sidestepping the obvious. Especially potent is the scene in which Joe tries to seduce Connie by talking about everything except seduction: it's also fun to watch Dingle robustly repeat the word "Damn" over and over, getting away with this breach of censorship because he's quoting Admiral "Damn the Torpedoes" Farragut. An Academy Award went to Charles Coburn, while nominations were bestowed upon Jean Arthur, Joel McCrea, George Stevens, the screenwriters, and the film itself. The More the Merrier was remade in 1966 as Walk Don't Run, with Cary Grant, Jim Hutton and Samantha Eggar. ~ Hal Erickson, All Movie Guide

No relation to the 1935 Lon Chaney Jr. vehicle of the same name, Republic's A Scream in the Dark is based on The Morgue is Always Open, a novel by Jerome Odlum. Robert Lowery plays Mike Brooker, a police reporter and amateur sleuth. Mike finds himself up to his neck in danger and intrigue when tracking down an elusive killer. The murders are committed by a stiletto-tipped umbrella, and there is no shortage of suspects. With only 53 minutes' running time, Mike is forced to assemble the clues in record time, with nary a pause for breath or logic. Marie "The Body" McDonald is better than usual as the hero's sweetheart, while Elizabeth Russell, a fixture of Val Lewton's RKO horror films, is suitably sinister as an oft-widowed suspect. ~ Hal Erickson, All Movie Guide

In this crime drama, a naive young woman receives an unpleasant wake-up call when she learns that her seemingly wonderful beau is a notorious gangster. After he is sent to prison, she marries a charming assistant district attorney. Trouble comes when her old flame is paroled and comes looking for a reconciliation. A murder ensues and the woman's brother is framed for the crime, causing her to go up against her own spouse in court to prove that her brother is innocent. ~ Sandra Brennan, All Movie Guide

The adaptation of Nobel Prize-winner John Steinbeck's Pulitzer Prize-winning novel of dirt-poor Dust Bowl migrants by 4-time Oscar-winning director John Ford starred Henry Fonda as Tom Joad, who opens the movie returning to his Oklahoma home after serving jail time for manslaughter. En route, Tom meets family friend Casey (John Carradine), a former preacher who warns Tom that dust storms, crop failures, and new agricultural methods have financially decimated the once prosperous Oklahoma farmland. Upon returning to his family farm, Tom is greeted by his mother (Oscar-winner Jane Darwell), who tells him that the family is packing up for the "promised land" of California. Warned that they shouldn't expect a warm welcome in California--they've already seen the caravan of dispirited farmers, heading back home after striking out at finding work--the Joads push on all the same. Their first stop is a wretched migrant camp, full of starving children and surrounded by armed guards. Further down the road, the Joads drive into an idyllic government camp, with clean lodging, indoor plumbing, and a self-governing clientele. When Tom ultimately bids goodbye to his mother, who asks him where he'll go, he delivers the film's most famous speech: "I'll be all around...Wherever there's a fight so hungry people can eat...Whenever there's a cop beating a guy, I'll be there...And when the people are eatin' the stuff they raise and livin' in the houses they build. I'll be there too." ~ Hal Erickson, All Movie Guide

Idealism vs. Practicality is the Disputed Passage in this lavishly mounted soap opera. Based on a novel by Lloyd C. Douglas (The Robe, Magnificent Obsession) the film stars John Howard as young medical student John Wesley Beaven. In the course of his education, Beaven is torn between two philosophies: the cold pragmatism of Dr. Forster (Akim Tamiroff) and the humanistic attitudes of kindly Dr. Cunningham (William Collier Sr.), who of course is author Douglas' alter ego. The crisis within Beaven comes to a head when he must choose between his career and his impending marriage to Audrey Hilton (Dorothy Lamour). A literally explosive climax in war-torn China brings the story to a logical and satisfying solution. Kudos again to director Frank Borzage for bringing warmth and credibility to the most sloppily sentimental of storylines. ~ Hal Erickson, All Movie Guide

A master blend of high comedy and tense emotional drama, A Letter of Introduction reteams Adolphe Menjou, Andrea Leeds, and Edgar Bergen & Charlie McCarthy, who'd previously costarred in the negligible Goldwyn Follies. Menjou plays John Mannering, a Barrymoresque actor who years earlier had divorced his wife and severed his relationship with his daughter Kay (Andrea Leeds). Now a grown woman, Kay aspires to an acting career, fully determined to make it on her own without her father's help. She goes so far as to change her last name to Martin, and to keep her actual relationship to Mannering a secret from the public. This set-up leads to a dizzying series of complications, including the breakup of Mannering's romance with a tootsie named Lydia Hoyt (Anne Sheridan), who falsely assumes that Kay is Mannering's mistress, and Kay's own romantic travails with vaudeville hoofer Barry Paige (George Murphy). Meanwhile, Kay's ventriloquist friend Bergen and his dummy McCarthy rise to superstardom on radio. It is, in fact, Bergen and Charlie who are instrumental in reuniting the estranged Mannering and Kay, paving the way for the film's tear-stained conclusion. Unavailable for many years, A Letter of Introduction re-emerged on the Public Domain circuit in 1975. ~ Hal Erickson, All Movie Guide

Brash and vigorous director William Wellman always had a place in his filmography for movies glorifying the early years of aviation -- from the start of his career (Wings), until the end (Lafayette Escadrille). But, perhaps, never has his devotion to aviation been made more vivid than in his 1938 drama Men With Wings. Wellman, in this film, attempts to dramatize the history of aviation from the early days of the Wright Brothers until the 1930s, when airline transportation first became viable. The story centers upon two contrasting aviation types: the barnstormer, Pat Falconer (Fred MacMurray), and the methodical scientist of flight, Scott Barnes (Ray Milland). Through these two archetypes, Wellman follows Pat and Scott from childhood to adulthood. Pat marries childhood sweetheart Peggy Ransom (Louise Campbell) and they have a child. Scott, who had always loved Peggy, remains in the background, not wanting to break up his solid friendship with Pat. But Pat is clearly doomed by his recklessness and breakneck individuality. After fighting in the skies during World War I, he refuses to sit back and do the methodical work of flight research like Scott. Always searching for another war to fight, Falconer leaves Scott and Peggy behind, taking off for China to help the Chinese fight Japanese invaders. ~ Paul Brenner, All Movie Guide

In this black comedy, a twitchy hypochondriac ends up conned into giving up his $500,000 inheritance in exchange for $50,000 cash. He does this because he is sure that he will die before he can get the money. The fellow's nurse loves her healthy charge and inspires him to live again. Together they conspire to regain their money by having him threaten suicide. If he does so, he would nullify their contract. ~ Sandra Brennan, All Movie Guide

The comedy team of Bert Wheeler and Robert Woolsey are atypically cast as bickering "friendly enemies" in On Again-Off Again. Based on the old stage farce A Pair of Sixes (previously filmed in 1930 as Queen High), the film stars the comedians as Hobbs and Horton, co-owners of a profitable pill manufacturing concern. Forever at each other's throats, the partners are in danger of losing their business thanks to their incessant squabbling. In desperation, their attorney George Dilwig (Russell Hicks) suggests that Hobbs and Horton solve everything with a wrestling match: the loser must agree to become the valet of the winner for a period of one year -- and must also pay a hundred-dollar fine every time he refuses to do the winner's bidding. By a fluke, Horton wins the match, whereupon Hobbs is compelled to wait on him hand and foot. Humiliated, Hobbs refuses to tell his fiancee Florence (Marjorie Lord) about the arrangement and ships her off to Florida, whereupon Horton, hoping to force Hobbs to break the agreement and thus forfeit his share of the business, spreads rumors that Hobbs is fooling around with Mrs. Horton (Esther Muir), then invites Florence to a party at his mansion. Hobbs gets even by dismissing all the servants and hiring a passel of low-lifes (Patricia Wilder, Pat Flaherty et.al.) as temporary help. The feud comes to a head when crooked salesman Toler (George Meeker) tries to convince both Horton and Hobbs to invest in a questionable business scheme, leading to a nocturnal slapstick chase through the Horton estate. Never before had Wheeler and Woolsey been involved in so complicated a plotline; indeed, both comedians seem positively winded at the end of the film. Despite all that's going on, there's still time for a couple of engaging musical numbers, including the ironic opener "One Happy Family" and Bert Wheeler's re-creation of his classic "crying while eating" vaudeville routine. Opinions are divided on On Again-Off Again: Some fans consider it the worst of Wheeler and Woolsey's features, while others regard it as a welcome step up from their previous mediocrities Silly Billies and Mummy's Boys. ~ Hal Erickson, All Movie Guide

Hollywood Boulevard is a trenchant look at the underside of Tinseltown. Though the nominal hero is a disillusioned screenwriter played by Robert Cummings (whose dialogue anticipates the lines spoken by William Holden in 1950's Sunset Boulevard), the focus of the story is John Halliday as a washed-up film star. Desperately, Halliday accepts the offer from a sleazy "tell all" magazine to write his memoirs. The actor's estranged family is devastated by the resultant scandal, and out love for his daughter (Marsha Hunt), Halliday tries to break his contract. But the publisher (C. Henry Gordon) threatens to ruin Halliday's comeback attempt if he refuses to write the rest of his memoirs. In a scuffle, the publisher kills Halliday, and the blame falls on the actor's daughter. But wise guy screenwriter Cummings gets to the truth of the mystery. A slick B-plus crime melodrama, Hollywood Boulevard has the added bonus of several well-known silent film personalities (Charles Ray, Francis X. Bushman, Maurice Costello, Mae Marsh etc.) in cameo roles, as well as a guest appearance by Gary Cooper. ~ Hal Erickson, All Movie Guide