William Demarest Movies

Comedy specialist Edward F. Cline was a curious choice to direct the typically two-fisted Milton Sills vehicle The Crash. Sills plays the head guy of a wrecking crew who, while out on the town, is smitten by burlesque dancer Thelma Todd. At first, Sills' intentions toward Todd are strictly dishonorable, but by and by he learns to love her and ultimately asks her to be his wife. The local gossips loudly disapprove of the match, and pretty soon Sills begins to wonder if he's made a mistake, but after a spectacular train-wreck finale (hence the film's title), hero and heroine are reunited. ~ Hal Erickson, All Movie Guide

A poor street cleaner inherits a fortune in this farce, which came complete with a music score and sound effects. According to a provision in his uncle's will, Elmer, the street cleaner (Clyde Cook), must marry or forfeit the inheritance to Briggs (William Demarest), the deceased man's faithful retainer. The latter kidnaps poor Elmer on his way to the altar, but the intended bride, plucky salesgirl Annie (Louise Fazenda), eventually comes to the rescue with assistance from the Coast Guard. ~ Hans J. Wollstein, All Movie Guide

George O'Brien stars as George, a footloose sailor who adheres to a philosophy of "love 'em and leave 'em." While on leave in Morocco, George makes the acquaintance of fiery French dancer Lorette (Lois Moran), who of course falls madly in love with him. Regarding Lorette as just another diversion, George soon discovers that he can't get rid of the girl -- in fact, she follows him all the way back to America. Amused by George's predicament, his two best buddies Tom (Noah Young) and Jerry (Tom Dugan) fix it so that our hero will never be able to avoid Lorette. As a result, the hero surrenders to the inevitable and marries the girl -- to the surprise of absolutely no one. ~ Hal Erickson, All Movie Guide

The rampant male chauvinism in A Girl in Every Port might be hard for contemporary audiences to stomach, but fans of director Howard Hawks will be delighted. Victor McLaglen and Robert Armstrong play Spike and Salami, two sailors who become close pals but only after dukeing it out over a dame. Together, Spike and Salami travel all of the world in search of women and adventure and women. Their friendship is sorely tested when Spike decides to settle down to marry French fortune hunter Marie (Louise Brooks), but eventually Salami convinces his pal that this "skirt" just ain't worth it. Famed exotic dancer Sally Rand co-stars as one of the heroes' many sexual conquests. A Girl in Every Port was remade two years later as Goldie, with Spencer Tracy, Warren Hymer and Jean Harlow. ~ Hal Erickson, All Movie Guide

It would seem that Warner Bros. was trying to develop hoydenish Louise Fazenda and diminutive Clyde Cook into a screen team, which would explain the existence of such trifles as A Sailor's Sweetheart. Upon inheriting a fortune, old-maid schoolmarm Cynthia Botts (Fazenda) takes a trip to Hawaii in search of a handsome hubby. She ends up the bride of Mark Krisel (John Miljan), who turns out to be not only a fortune-hunter but a bigamist as well. Standing on the sidelines is woebegone sailor MacTavish (Clyde Cook), who, unaware of Cynthia's millions, worships her from afar. Cynthia realizes that MacTavish is the man for her when he rescues her from a vicious bootlegging gang. Myrna Loy has virtually nothing to do in the third-billed role of Claudette Ralston. ~ Hal Erickson, All Movie Guide

Legendary racecar driver Barney Oldfield plays himself in the engaging little period piece The First Auto. Russell Simpson plays livery-stable owner Hank Armstrong, who is appalled beyond words when his son Bob (Charles E. Mack) comes home with one of those newfangled "horseless carriages." Throwing Bob out of the house, Hank stubbornly sticks to his stable business, only to be driven into bankruptcy by the ever-growing popularity of the automobile. When Bob returns to his hometown to participate in an auto race, his father, having temporarily gone off the beam, agrees to sabotage the boy's car to make certain that he loses. Only when he attends the race does Hank realize that he's booby-trapped his own son's vehicle. On cue, the car blows up, but Bob emerges unscathed, setting the stage for an emotional reunion between father and son. Long believed lost, The First Auto has been restored to nearly its original length and has frequently been telecast over the Turner Classic Movies cable service. ~ Hal Erickson, All Movie Guide

On the verge of receivership in 1926, Warner Bros. studio decides to risk its future by investing in the Vitaphone sound system. Warners' first Vitaphone release, Don Juan, was a silent film accompanied by music and sound effects. The studio took the Vitaphone process one step farther in its 1927 adaptation of the Samson Raphaelson Broadway hit The Jazz Singer, incorporating vocal musical numbers in what was essentially a non-talking film. Al Jolson stars as Jakie Rabinowitz, the son of Jewish cantor Warner Oland. Turning his back on family tradition, Jakie transforms himself into cabaret-entertainer Jack Robin. When Jack comes home to visit his parents, he is warmly greeted by his mother (Eugenie Besserer), but is cold-shouldered by his father, who feels that Jack is a traitor to his heritage by singing jazz music. Several subsequent opportunities for a reconciliation are muffed by the stubborn Jack and his equally stubborn father. On the eve of his biggest show-business triumph, Jack receives word that his father is dying. Out of respect, Jack foregoes his opening night to attend Atonement services at the temple and sing the Kol Nidre in his father's place. Through a superimposed image, we are assured that the spirit of Jack's father has at long last forgiven his son. Only twenty minutes or so of Jazz Singer is in any way a "talkie;" all of the Vitaphone sequences are built around Jolson's musical numbers. What thrilled the opening night crowds attending Jazz Singer were not so much the songs themselves but Jolson's adlibbed comments, notably in the scene where he sings "Blue Skies" to his mother. Previous short-subject experiments with sound had failed because the on-screen talent had come off stilted and unnatural; but when Jolson began chattering away in a naturalistic, conversational fashion, the delighted audiences suddenly realized that talking pictures did indeed have the capacity to entertain. Despite its many shortcomings (the storyline goes beyond mawkish, while Jolson's acting in the silent scenes is downright amateurish), The Jazz Singer was a box-office success the like of which no one had previously witnessed. The film did turn-away business for months, propelling Warner Bros. from a shoestring operation into Hollywood's leading film factory. Proof that The Jazz Singer is best viewed within its historical context is provided by the 1953 and 1980 remakes, both interminable wallows in sentimental goo. Worse still, neither one of those films had Al Jolson--who, in spite of his inadequacies as an actor, was inarguably the greatest musical entertainer of his era. ~ Hal Erickson, All Movie Guide

The Carters (Irene Rich and Huntley Gordon), a nouveau riche couple from Peoria, Illinois, decide to take a trip to Europe in the company of John Carter's best friend Henry (William Demarest). While in Paris, Henry begins squiring the coquettish Suzanne (Lilyan Tashman), who throws him over in favor of Carter. Mrs. Carter gets wise to her husband's philandering and arranges to catch John and Suzanne together as grounds for divorce. John agrees to break up the marriage, but only on the proviso that his pal Henry become Mrs. Carter's second husband. A sagacious justice of the peace decides to solve everyone's problems by tricking Mr. and Mrs. Carter into remarrying each other and by arranging a quick wedding for Henry and the now-chastened Suzanne. ~ Hal Erickson, All Movie Guide

Hardly an important film, Finger Prints pleased the crowd with its heady combination of slapstick comedy and old-dark-house melodrama. A professional crook is collared by the law, but not before squirreling away a fortune in hidden money in a crumbling country mansion. The crook's sister is kidnapped by his accomplices, who take the girl to the mansion, hoping to force her to reveal the whereabouts of the loot. What they don't know is that the house has been fitted with all sorts of modern, push-button devices, which thoroughly flummox the bad guys while delighting their unterrified captive. The day is saved by the timely intervention of comic-relief servant Louise Fazenda (who certainly deserves the top billing bestowed upon her). ~ Hal Erickson, All Movie Guide

Actor-director Ralph Graves, the "auteur" of Columbia Pictures, paid a brief visit to Warner Bros. to put together Reno Divorce. While driving around in her car, wealthy but inattentive heroine May McAvoy knocks down aspiring artist Graves. She takes him to her home to recuperate, whereupon the two fall in love. Alas, recent divorcee Hedda Hopper sets her cap for Graves, who is interested only in painting a portrait of the woman. McAvoy misunderstands Graves' intentions towards Hopper, but all is forgiven by film's end. Those are but the bare bones of the storyline: Reno Divorce has enough subplots for three films of its kind. ~ Hal Erickson, All Movie Guide

To impress his wealthy uncle Hiram (Tom Ricketts), Billy Winthrop (George K. Arthur) and his wife Ethel (Dorothy Revier) overextend their bank account and rent a posh apartment. Knowing full well that he will inherit Uncle's fortune provided he has become a success in life, Billy puts on quite a show for the old man's benefit, even unto posing as his own butler -- and maid. While dressed in female drag, Billy falls into the clutches of a gang of crooks, one of whom, Joe Carter (Harry Depp), is likewise disguised in women's clothing. Uncle Hiram flirts outrageously with both "ladies," leading to the film's uproarious conclusion. ~ Hal Erickson, All Movie Guide