Robert Nainby Movies

The oft-filmed story of the WW I espionage agent known as "Fraulein Doktor" was given another go-round in the British Under Secret Orders. Dita Parlo plays Anne-Marie Lesser, a German secret agent who undermines the Allied cause at the expense of her own happiness. Top billing is bestowed upon Erich von Stroheim, as Anne-Marie's superior Colonel Mathiesus, a self-styled master of disguise (though his various makeups don't fool anyone in the audience). Released in the U.S. in 1943, Under Secret Orders was originally distributed in England in 1937 under the title Street of Shadows. A simultaneously-filmed French version, Mademoiselle Docteur, likewise starred Parlo and Von Stroheim. ~ Hal Erickson, Rovi

Crackerjack tells the story of Jack Drake (Tom Walls), who is seemingly an ordinary, foppish member of England's idle rich, a true ne'er-do-well. He has a secret, however (actually, several) -- the first being a heart of gold and a social conscience, which motivate him to help the less fortunate; the second is an array of special, stealthy skills that permit him to be a master thief, so masterful that he can even steal from other thieves without their knowledge. His exploits, attributed to a master thief known as "Crackerjack," are even chronicled in an anonymously authored bestseller entitled Crackerjack (which even the Scotland Yard superintendent is reading). Its royalties are all directed to a charity. As he explains to his valet/social secretary, Burdge (Charles Heslop -- the only person who knows his secret), he never steals from anyone who would actually miss the money in any material way, and he does it because they're "too mean to give it away themselves." He is also in love with the Baroness Von Haltz (Lilli Palmer) and the two interests converge at a costume party thrown by Mrs. Humbold (Muriel George) -- he plans to court the baroness and steal the Humbold pearls. But all plans of romance are swept aside when the quartet of American entertainers at the party turn out to be armed robbers who kill one of the guests. Now a cat-and-mouse game ensues: Crackerjack on the one side trying to steer Scotland Yard to the American gang, the gang trying to get a line on Crackerjack to get the Humboldt pearls, and Scotland Yard caught between them, and on top of that, baroness is in jeopardy. ~ Bruce Eder, Rovi

This comedy was directed by the once great silent comedian Harry Langdon. It is about two hoboes who have a sudden change of fortune when they discover that they can buy their uncle's loan company if they can find money. The two head for the horse races in hopes of winning the badly needed dough. There they meet a sultry woman and her sneaky boy friend. When the two connivers hear of the young men's plans, they decide to acquire the business for themselves. The woman wins at the track and buys the company. The hoboes are left back where they started. ~ Sandra Brennan, Rovi

In this British comedy, a poor college porter suddenly becomes an earl and must protect his newly inherited estate from clever con artists who try to convince him that there is oil on his land. ~ Sandra Brennan, Rovi

Lynn has just received his inheritance--a stable of racehorses. The only problem is that his aunt, a staunch opponent to gambling in any form, is apoplectic at the thought of his owning the stable. She wants him to turn it into a home for working women. That's when then con men show up with a wrestling arena to sell. ~ Rovi

Two's Company was based on Sydney Horler's stage comedy Romeo and Julia. The film's storyline is developed in parallel fashion, with the antics of American businessman B. G. Madison (Henry Holman) and his family and associates mirrored and sometimes anticipated by the behavior of Madison's British counterpart, The Earle of Warke (Morton Seiten), and his entourage. The ongoing rivalry between Madison and the Earle wreaks havoc on the romance between Madison's daughter Julia (Mary Brian) and Warke's son Jerry (Patric Knowles). Both families behave in stereotypical fashion, skewering both American and British manners and mores with fine impartiality. Two's Company was very much designed for a dual market, right down to the comedy relief: Ned Sparks for the American fans, Gordon Harker for the British patrons. ~ Hal Erickson, Rovi

His Hollywood career a thing of the past, director Herbert Brenon returned to his native England in 1934, where he continued making films until his retirement in 1940. Brenon's first project upon his arrival in London was the feature-length documentary Royal Cavalcade. Covering a 25-year period, the film is an encapsulation of the comings and goings of the British empire since the 1910 coronation of King George V. The highlights, drawn from the newsreel files of several English and European archives, include Captain Scott's arrival at the South Pole (and the tragic aftermath), the First World War, the Roaring 20s, and the Depression. Of special interest to show-biz buffs is the footage of the first Royal Command Performance at the Palace in 1911, featuring such matchless performers as Anna Pavlova and George Robey. ~ Hal Erickson, Rovi

Will Hay heads a cast of nearly 40 popular British variety artists in Radio Parade of 1935. The magnificent supercilious Mr. Hay is cast as William Garland, a radio-station manager whose operation is in big financial trouble. Our hero is baled out by Jimmie Clare (Clifford Mollison), head of the station's complaints department, who enlists the aid of his fellow employees to stage a big-time variety show. So grateful is Garland that he consents to the marriage of his daughter Joan (Helen Chandler) and the enterprising Mr. Clare. The film's guest stars may have not meant much to American audiences, but British filmgoers were delighted to see their favorites in action. Filmed in a primitive but eye-pleasing color process, Radio Parade of 1935 represents one of the first directorial efforts of Arthur B. Woods, whose promising career was tragically cut short in the early stage of WW II. In America, the film was released as Radio Follies. ~ Hal Erickson, Rovi

In this costume drama, Colonel Blood, a notorious Irish patriot/outlaw, tries to steal the British Crown Jewels. He is caught and taken before King Charles II. The king finds the rogue colonel so charming that he pardons him. ~ Sandra Brennan, Rovi

Jew Suss was a well-worn stage drama based on an old novel by Lionel Feuchtwanger. The story involves an enterprising Jewish businessman (Conrad Veidt) who gains power and influence in the European community of Wurttemburg. He does this to help his people, who have suffered persecution under the Gentile burgomeisters. To his horror, Suss discovers that he is actually not Jewish at all. The question: Was his own suffering on behalf of the community's genuine Jews worth it, and will he continue to act in their best interest? Filmed as a protest against the rising tide of Anti-Semitism in Germany, Jew Suss (released in the U.S. as Power) was far from subtle, but its heart was in the right place. There would be a reprehensible 1940 German remake of Jew Suss, this time filmed under the aegis of Nazi propaganda minister Josef Goebbels, wherein the story was perverted into an anti-Jewish tract and Suss was portrayed as a drooling rapist! ~ Hal Erickson, Rovi