William Demarest Movies

The Great Hospital Mystery is based on one of Mignon Eberhardt's "Nurse Sarah Keate" whodunits. Physically and temperamentally, Jane Darwell at least approximates the middle-aged Sarah (here renamed Miss Keats), but otherwise the film runs far afield from Eberhardt's original concept. As the night superintendent of a metropolitan hospital, Miss Keats does her best to handle the personal problems of her staff -- especially nurse Ann (Sally Blane), whose brother Tracy (George Walcott) is being victimized by mobsters. To save Tracy from assassination, Keats and Ann make it appear as though he has died in the hospital while a patient there. Their plan is compromised when another patient is murdered -- or is he? Joan Davis provides gratuitous comic relief as a klutzy "girl in white." ~ Hal Erickson, All Movie Guide

In this drama, a Boy Scout leader hosts a local gossip show. Trouble ensues when he predicts a politician's murder just before it occurs. He is arrested by the DA, but before getting to jail, he is abducted by irate gangsters--the real killers. Fortunately, his loyal Scout troop rallies to his rescue. ~ Sandra Brennan, All Movie Guide

The hyped-up 1930s radio feud between bandleader Ben Bernie and columnist Walter Winchell is all but forgotten today, but that doesn't lessen the entertainment value of the Bernie/Winchell vehicle Wake Up and Live. Amidst the bickering of the two stars, the film traces the progress of mike-shy singer Jack Haley (whose singing voice was dubbed by Buddy Clark). Leading lady Alice Faye tricks Haley into singing on the air with Bernie's orchestra, which results in Winchell doing his best to discredit both Bernie and Haley. Eventually Haley and Alice Faye fall in love, and Ben and Walter patch up their differences. So successful was Wake Up and Live that 20th Century-Fox rushed Bernie and Winchell into a follow-up, Love and Hisses (38), but by that time their feud had taken second place in the hearts of America to the equally contrived "battle" between Jack Benny and Fred Allen. ~ Hal Erickson, All Movie Guide

Financier J.B. Ball (Edward Arnold) -- known in the press as "the Bull of Broad Street" -- may be one of the wealthiest investment bankers in the country, but he also knows the value of a dollar. And when his wife (Mary Nash) spends 50,000 of them on a sable coat, he is driven into such a fury in the ensuing argument on the roof of their Fifth Avenue townhouse, that he throws the coat into the street -- where it promptly lands on the head of Mary Smith (Jean Arthur), a clerk-typist on her way to work, riding on the upper deck of a double-decker bus, ruining her hat in the process. She jumps off the bus to try to return the coat, but Ball insists that she keep it. What she really needs, however, is not a 50,000-dollar sable coat so much as a ride to work -- as she doesn't even have a dime for bus fare -- and perhaps a new hat. Ball obliges, taking her to one of the top clothing stores in New York, buying her an expensive fur hat to go with the coat, and then dropping her at work in his limo. Her superiors, seeing her decked out in a sable coat and a new hat, and getting out of the chauffeured car, conclude that Mary is a kept woman, and, therefore, unfit to work for the boys magazine where she is employed, and they fire her. Now out of work and virtually broke, she seems to have become a victim of random fate, but suddenly the scales start to tip the other way from the very same misunderstanding that got her fired. Having been seen in the company of J.B. Ball -- whose name she didn't even get -- she is rumored to be his mistress; the prissy clothing store proprietor (Franklin Pangborn) spreads this story, and that turns Mary into the object of attention for Mr. Louis Louis (Luis Alberni), the owner of a failed luxury hotel on which Ball's bank holds the mortgage, and is about to foreclose. For reasons that she can't begin to understand, since there is nothing going on between her and J.B. Ball (whose name she doesn't even know), or between her and anyone, Louis moves her into the most luxurious suite in his hotel for a dollar a day, asking her only to inform "that certain someone" of how she loves living there. Mary has no idea of who "that certain someone" is, or what Louis is talking about, but she needs a place to live, and Louis is insistent. She still needs to eat, and, while trying to get a meal at the automat, she crosses paths with a handsome, well-meaning, but inept waiter (Ray Milland), who gets fired for helping her. She takes him into her suite so he has a place to stay, and the two fall in love in the course of finding out about each other. She knows that he is John Ball Jr., but doesn't realize that he is the son of J.B. Ball, trying to make it on his own, nor does she yet realize who J.B. Ball is, in terms of being the man who gave her the coat and the new hat, or one of the wealthiest men in the country. But after the elder Ball spends an innocent night at the Hotel Louis, a gossip columnist named "Wallace Whistling" (William Demarest) prints that he is keeping a woman at the hotel, and suddenly the Hotel Louis, perceived as a fashionable playground for the upper-crust, is filled with guests. This multiple case of mistaken identity plunges through two or three new layers, eventually bringing about an impending stock market crash to rival 1929, before Mary discovers who her would-be benefactor and her would-be fiancé are. She bails them out of the jam that they're in, also restoring the Ball's marriage, her own reputation, and her romance with Ball's son in the process. ~ Bruce Eder, All Movie Guide

Guy Kibbee, moviedom's archetypal small-town bigshot, stars in RKO Radio's Don't Tell the Wife. On this occasion, Kibbee, playing Malcolm Winthrop, has greatness thrust upon him when he buys a few shares of supposedly worthless mining stock. Though it looks as though he and the entire town will be ruined financially, Winthrop emerges triumphant when he manages to outwit up a gang of stock swindlers. Lynne Overman has some good moments as one of the crooks, Steve Dorset by name, who intends to go straight for the sake of his spouse Nancy (the "wife" of the title, played by Una Merkel), but he can't resist trying to pluck a fat goose like Winthrop. The supporting cast of Don't Tell the Wife is filled to overflowing with familiar faces, none more familiar than RKO contractee Lucille Ball. ~ Hal Erickson, All Movie Guide

In MGM's three-hour-plus The Great Ziegfeld, William Powell stars as the titular theatrical impresario, whose show business empire begins when he stage-manages a tour for legendary strongman Sandow (Nat Pendleton). With nary a penny in the bank, he charms European stage star Anna Held (Luise Rainer) to headline his "Follies", and later marries the luscious Ms. Held. From 1907 onward, Ziegfeld stages annual editions of Broadway's most fabulous revue, dedicated to "Glorifying the American Girl" but also giving ample time to develop the comic talents of Fanny Brice (played by herself), Will Rogers, Eddie Cantor and many others. Eventually, Ziegfeld abandons Ms. Held in favor of other beauties, setting the stage for the "telephone scene" which won Luise Rainer the first of her Oscars. ~ Hal Erickson, All Movie Guide

"Warner Oland vs. Boris Karloff" read the billing on the opening credits of Charlie Chan at the Opera. Karloff plays a once-famous opera star who has long been confined to an insane asylum. He escapes, ostensibly to seek revenge on the diva wife (Nedda Harrigan) who'd betrayed him years earlier. Karloff shows up during the performance of a new opera, and within minutes the murders start. Detective William Demarest figures the case is open and shut, but oriental sleuth Charlie Chan (Oland) is not thoroughly convinced of Karloff's guilt--nor is he certain that Boris is genuinely insane. To give away the ending would be churlish, but we can note that Charlotte Henry plays Karloff's daughter, who has been raised to believe that her father was dead. Considered by some Charlie Chan fans to be the best of the Warner Oland efforts, Charlie Chan at the Opera is distinguished by excellent production values, and by an original opera composed by Oscar Levant--who allegedly agreed to this assignment provided he could include the word "Silencio!" in his lyrics. ~ Hal Erickson, All Movie Guide

S. S. Van Dine's intelligent, insufferable amateur sleuth Philo Vance is the protagonist of The Casino Murder Case. Paul Lukas plays Vance, who is brought to the mansion of a wealthy, eccentric widow (Alison Skipworth) by a mysterious unsigned letter. Several murders are committed in the elderly woman's home, with the evidence pointing to various red herrings before the truth is revealed. Rosalind Russell plays the old lady's secretary (and Vance's object of affections); Eric Blore is Vance's droll valet; and Ted Healy is the obnoxious Sgt. Heath, ever willing to slap the cuffs on the wrong person. ~ Hal Erickson, All Movie Guide

Joe E. Brown's extensive circus and burlesque training serve him well in this familiar but likeable yarn. Brown and Ann Dvorak stars as small-time vaudevillians Joe and Fay Wilson, presently employed by a seedy burlesque troupe. Also on tour with the Wilsons is society girl Peggy (Patricia Ellis), who's merely joined the troupe for a few laughs. Publicity agent Daniel Wheeler (William Gargan) offers Joe a big-time contract, but only if he will team up with Peggy. Surprisingly, Fay goes along with this, though she soon has reason to regret her generosity. The film's many intrigues give way to slapstick when Joe commandeers an airplane to expedite a reconciliation with his ever-loving spouse. The film's comic highlight is Joe E. Brown's "drunken mouse" routine, which later caused him courtroom trouble when comedian Bert Wheeler insisted that the bit was his personal property. ~ Hal Erickson, All Movie Guide

Society girl Constance Bennett goes to work as a reporter for a big-city newspaper. Harried editor Clark Gable fires the flighty socialite, but rehires her when Bennett starts dating the co-respondent (Harvey Stephens) in a major divorce case. Things get sticky when the wife in the case is murdered and Bennett's beau is accused of the crime. More interested in the well-being of Bennett than in making headlines, Gable tracks down the killer and springs the boy friend. The freed man sizes up the situation and courteously steps out of the picture, allowing Gable and Bennett--who of course have been in love all along--to head for the altar. ~ Hal Erickson, All Movie Guide

Walter Connolly, Columbia's answer to Edward Arnold, is his usual bombastic self in White Lies. Connolly is cast as powerful publisher John Mitchell, whose pursuit of sensational headlines at the expense of all else takes a personal toll when his daughter Joan (Fay Wray) is implicated in a murder. Police officer Terry Condon (Victor Jory), in love with Joan, is nonetheless duty-bound to arrest her and treat her like any other murder suspect. Likewise, Mitchell is ruthless in his treatment of Joan in the press, despite his inner emotional turmoil. Fortunately, Condon, working "outside the law," is able to crack the murder case and pave the way for a tearful reconciliation between father and daughter. A bit too plot-heavy for 63 minutes, White Lies nonetheless moves at a fast and logical clip. ~ Hal Erickson, All Movie Guide

Department-store owner Horatio Allen's (George Barbier) biggest mistake is to name his scatterbrained daughter Gracie (Gracie Allen) as his sole heir. Suddenly Gracie becomes obsessed with the notion of converting her dad's store into a bird sanctuary. Psychologist Dr. Otto von Strudel (Egon Brecher) suggests that the best way to dissuade Gracie is to marry her off to Burns (George Burns). Burns vetoes the idea until Allen Sr. offers to pay him 10 dollars for every mile he travels with Gracie away from the store. This leads to a series of zany "on the road" complications, with Gracie's foolishness causing no end of trouble for the long-suffering George. Much ado about nothing, Many Happy Returns is recommended for Burns and Allen's staunchest admirers, though music fans will enjoy Larry Adler's harmonica solo and the dulcet sounds of Guy Lombardo's Orchestra (incidentally, some of Lombardo's numbers are actually performed sans screen credit by the Duke Ellington band). ~ Hal Erickson, All Movie Guide

Joe E. Brown plays a dual role in Circus Clown, as would-be circus entertainer Happy Howard and his rustic old father. When dad, a former circus man himself, disapproves of Happy hitting the sawdust trail, the boy does so anyway, smitten by a beautiful female bareback rider. So naïve is our hero that he doesn't realize that the "girl" is actually female impersonator Jack (Don Dillaway), who strings Happy along just for laughs. Once this plotline is straightened out, Happy becomes the hero of the day by substituting for a drunken aerialist -- and there is no more proud or enthusiast spectator than Happy's happy dad. If Joe E. Brown looks genuinely frightened in his scene in the lion's cage, he should; the lion affectionately pawed Brown during one take, resulting in six stitches in the comedian's arm. More serious than most Brown vehicles, Circus Clown is distinguished by the star's spectacular acrobatics (the real thing -- no doubles), and by some excellent split-screen work during the "father/son" scenes. ~ Hal Erickson, All Movie Guide