Sailor Vincent Movies

Union Colonel Brackenby (Melvyn Douglas) and his second-in-command, Captain Heath (Glenn Ford), attempt to command a rather inept cavalry unit during the Civil War. General Willoughby (Jim Backus) heads them out West on assignment rather than allowing them to foul things up where it counts. They soon get involved with Martha Lou, a confederate spy (Stella Stevens) posing as a prostitute, and her boss, Jenny (Joan Blondell) as well as a group of renegades and an Indian chief. In spite of their ridiculous slapstick antics, they manage to carry out their mission. This comedy was based on Company of Cowards, a novel by Jack Schaefer. ~ Kristie Hassen, All Movie Guide

In this Western, a rancher must perform a robbery lest the outlaw chief that holds his wounded brother hostage lets him die. The rancher does the job, then escapes to Mexico with his girl. En route, they marry. They soon find a cabin in the middle of Indian country. The Apaches had killed all the occupants, save for one baby. The couple begins raising the child. Soon the posse arrives to take the rancher back. He is charged with a murder that occurred during the heist. Later they realize that he is innocent and they protect him from another Apache attack. ~ Sandra Brennan, All Movie Guide

Yankee Doodle Dandy is no more the true-life story of George M. Cohan than The Jolson Story was the unvarnished truth about Al Jolson -- but who the heck cares? Dandy has song, dance, pathos, pageantry, uproarious comedy, and, best of all, James Cagney at his Oscar-winning best. After several failed attempts to bring the life of legendary, flag-waving song-and-dance man Cohan to the screen, Warners scenarist Robert Buckner opted for the anecdotal approach, unifying the film's largely unrelated episodes with a flashback framework. Summoned to the White House by President Roosevelt, the aging Cohan is encouraged to relate the events leading up to this momentous occasion. He recalls his birth on the Fourth of July, 1878; his early years as a cocky child performer in his family's vaudeville act; his decision to go out as a "single"; his sealed-with-a-handshake partnership with writer/producer Sam Harris (Richard Whorf); his first Broadway success, 1903's Little Johnny Jones; his blissful marriage to winsome wife Mary (a fictional amalgam of Cohan's two wives, played by Joan Leslie -- who, incredibly, was only 17 at the time); his patriotic civilian activities during World War I, culminating with his writing of that conflict's unofficial anthem "Over There" (performed by Nora Bayes, as played by Frances Langford); the deaths of his sister, Josie (played by Cagney's real-life sister Jeanne), his mother, Nellie (Rosemary DeCamp), and his father, Jerry (Walter Huston); his abortive attempt to retire; and his triumphant return to Broadway in Rodgers & Hart's I'd Rather Be Right.

His story told, Cohan is surprised -- and profoundly moved -- when FDR presents him with the Congressional Medal of Honor, the first such honor bestowed upon an entertainer. His eyes welling up with tears, Cohan expresses his gratitude by invoking his old vaudeville curtain speech: "My mother thanks you, my father thanks you, my sister thanks you, and I thank you." Glossing over such unsavory moments in Cohan's life as his bitter opposition of the formation of Actor's Equity -- not to mention George M.'s intense hatred of FDR! -- Yankee Doodle Dandy offers the George M. Cohan that people in 1942 wanted to see (proof of the pudding was the film's five-million-dollar gross). And besides, the plot and its fabrications were secondary to those marvelous Cohan melodies -- "Give My Regards to Broadway," "Harrigan," "Mary," "You're a Grand Old Flag," "45 Minutes from Broadway," and the title tune -- performed with brio by Cagney (who modifies his own loose-limbed dancing style in order to imitate Cohan's inimitable stiff-legged technique) and the rest of the spirited cast. Beyond its leading players, movie buffs will have a ball spotting the myriad of familiar character actors parading before the screen: S.Z. Sakall, George Tobias, Walter Catlett, George Barbier, Eddie Foy Jr. (playing his own father), Frank Faylen, Minor Watson, Tom Dugan, John Hamilton, and on and on and on. In addition to Cagney, music directors Ray Heindorf and Heinz Roemheld also won Oscars for their efforts. ~ Hal Erickson, All Movie Guide

This French-language version of the 1935 Hollywood musical Folies Bergere retains the original star (Maurice Chevalier) and director (Roy Del Ruth) and Busby Berkeley's big-scale production numbers. It also follows substantially the same plot: A nightclub entertainer (Chevalier), is hired to pose as his look-alike (also Chevalier), a prominent aviation tycoon. The masquerade causes consternation for the entertainer's girlfriend, who of course has no idea what's going on, and for the tycoon's wife, who can't understand why her cold-fish husband has suddenly become so warm and demonstrative. Beyond the obvious language change, the major differences between the two Folies Bergeres are found in their supporting casts: for example, Natalie Paley plays the tycoon's spouse role originally essayed by Merle Oberon, while Sim Viva, as the girlfriend, fills the dancing shoes of the English-language version's Ann Sothern. Folies Bergere served as the basis for two future 20th Century-Fox musicals, That Night in Rio and On the Riviera, neither of which were released in French versions. ~ Hal Erickson, All Movie Guide

In his autobiography, Pat O'Brien described his character in The Personality Kid as a "Cassius Clay" type (this of course, was before Clay metamorphosed into Muhammad Ali). Indeed, arrogant prizefighter Ritzy (Pat O'Brien) is quite a piece of work, wearing a derby hat in the ring and dancing an Irish jig whenever he scores a knockout. Once he's risen to the top of his profession, Ritzy becomes even more insufferable, forsaking his faithful manager-wife Joan (Glenda Farrell) in favor of society artist Patricia (Claire Dodd). Ultimately he discovers that he'd be nowhere without Joan, who's been arranging "bum a month" boxing matches to guide him towards the championship. Only when he's hit the skids, however, does Ritzy return to Joan -- just in time to learn of another surprise in store for him, courtesy of "Mr. Stork." ~ Hal Erickson, All Movie Guide

Much of this drama is comprised of newsreel footage. It chronicles the exploits of a luckless college prize-fighter attempting to go professional. Unfortunately he is exploited by his dishonest manager. The innocent pugilist is eventually befriended and assisted by a pretty reporter who helps free him from his wicked manager. During the big fight, the fighter takes a real lickin' when he discovers that the reporter has not come to the fight. This is a very early talkie. ~ Sandra Brennan, All Movie Guide

Bearing no relation to the popular torch song of the same name, The Man I Love is a prizefight picture, courtesy of Paramount production exec David O. Selznick. Richard Arlen stars as Dum-Dum Brooks, a tank-town boxer who journeys to New York in hopes of cracking the Big Time. Along for the ride is Dum-Dum's long-suffering but ever-faithful wife Celia (Mary Brian). After licking Champ Mahoney (Charles Sullivan) in an exhibition bout, Dum-Dum is given a chance to win the title for real. His road to success is temporarily blocked off by seductive Sonia Baranoff (Olga Baclanova), giving poor Celia even more to worry about. Among the real-life pugilists seen in The Man I Love is ubiquitous stunt man and bit player Sailor Vincent, who remained in films well into the late 1950s. ~ Hal Erickson, All Movie Guide