Helen Shipman Movies

The MGM historical "spectacular" San Francisco was allegedly based on a three-sentence synopsis, submitted verbally to producer B.F. Zeidman by studio troubleshooter Bob Hopkins. The story begins on the Barbary Coast on New Year's Eve, 1906, as rakish but likeable political boss Blackie Norton (Clark Gable) hires demure young singer Mary Blake (Jeanette MacDonald) to perform at his rowdy Paradise gambling house. Local priest Father Mullin (Spencer Tracy), Blackie's best friend, disapproves of the exploitation of the lovely Mary, feeling that she's suited for classier surroundings. Jack Hurley (Jack Holt), Nob Hill socialite and Blackie's political rival, agrees with Father Mullin and offers the girl the opportunity to sing with the San Francisco Opera. Blackie, who's fallen in love with Mary but won't admit it to himself, jealously holds on to her contract, forcing Mary to walk out on him. For the rest of the film, Mary is torn between the "respectable" lifestyle offered her by Hurley and the baser creature comforts provided by Blackie. It looks for a while that Hurley has won out, but fate takes a hand in the form of the devastating San Francisco Earthquake of April 18, 1906 (a special effects tour de force for art directors Arnold Gillespie and his uncredited associate James Basevi). Hurley is killed in the holocaust, while Blackie, desperately searching for Mary in the rubble, at long last finds religion and prays to God for his sweetheart's salvation. At the end, an unidentified bit player shouts defiantly "We'll build a new San Francisco!" -- and by golly, they do! The Hollywood censors were not so much bothered by the sexual subtext of San Francisco or its harrowing earthquake finale as they were by a scene in which Father Mullin is knocked down by an unrepentant Blackie. To "purify" this potentially blasphemous sequence, screenwriter Anita Loos quickly added an earlier scene in which Mullin and Blackie, both dressed in turtleneck sweaters, genially duke it out at an exercise gym, whereupon the priest cold-cocks Blackie with the greatest of ease. By establishing that Mullin could have punched out Blackie, but chooses not to in the controversial later scene, not only allows that scene to pass, but also strengthened the priest's character. San Francisco proved to be one of MGM's biggest hits, remaining in almost constant reissue for the next three decades. ~ Hal Erickson, All Movie Guide

The first of MGM's phenomenally profitable Jeanette MacDonald-Nelson Eddy musicals, Naughty Marietta takes several beneficial liberties with the libretto of the original Victor Herbert operetta. MacDonald plays an 18th-century French princess who escapes an arranged marriage by posing as a "cake girl," a mail-order bride sent to the New World to marry a colonist. En route, MacDonald and the other brides are captured by pirates, but are rescued by mercenary Eddy and his roistering companions. To avoid marrying some lowly farmer or frontiersman, simon-pure MacDonald intimates that she is a woman with a "history," which makes her attractive to the glitterati of old New Orleans. Only Eddy sees through MacDonald's feigned "naughtiness," and in the end claims her for his own. The most memorable of the Herbert songs retained for the film version of Naughty Marietta was "Ah, Sweet Mystery of Life", which remained one of Jeanette MacDonald's signature tunes ever afterward. ~ Hal Erickson, All Movie Guide

Inspired by the eccentric, reclusive Wendel Family of New York's Fifth Avenue, Elizabeth MacFadden's stage melodrama Double Door was adapted for the screen in 1934. Set in 1910 Manhattan, the film stars Mary Morris and Anne Revere, repeating their stage roles as domineering, calculating Victoria Van Brett and her weakling sister Caroline. The title refers to the door guarding the Van Brett's secret vault, wherein are stored the family jewels. Years earlier, Victoria, the only member of the family who knows the vault's combination, locked Caroline in the dark, airless chamber, literally frightening her into madness. At present, the misleadingly sweet-natured Victoria has embarked upon a campaign to destroy Ann Darrow (Elizabeth Allan), the new bride of her half-brother Rip Van Brett (Kent Taylor). When her efforts to accuse the girl of having an affair with doctor John Lucas (Colin Tapley) fail, Victoria does her utmost to lure Ann into the vault, intending to lock her in and drive her insane. Perhaps it goes without saying that the heroine will survive, and that Victoria herself will be forever entombed behind that double door. ~ Hal Erickson, All Movie Guide

Produced and directed by onetime comedy impresario Joe Rock, the early talkie The Great Power was a literal adaptation of the same-named stage play by Myron Fagan. Using the facilities of a small studio in Waterbury, Connecticut, Rock hired the cast members of the original play to repeat their roles. Hirshell Mayall stars as John Power, a ruthless millionaire forced to take an accounting of himself when he faces his Judgement Day in the Hereafter. Unfortunately, Mayall can find no one to testify in his behalf; apparently, he has spent his entire life making nothing but enemies. Faced with material that was apparently beyond his creative ken, director Rock was forced to film the entire movie twice when the first version came out looking like a high-school pageant. Despite its flaws, The Great Power managed to obtain a release through MGM. ~ Hal Erickson, All Movie Guide