James Donlan Movies

Harold Lloyd plays a professor of Egyptology, frightened by the notion that he has fallen under an ancient Egyptian curse. Lloyd has the opportunity to join an archeological expedition to search for a missing tablet that will determine his fate, but he has to travel from Los Angeles to New York before the party sails to Egypt. Alas, Lloyd is also required to appear in court to answer charges of "indecent exposure" (it's a long story). The rest of the film is a frantic chase with the authorities pursuing the fugitive professor across the country, highlighted by a daredevil sequence atop a moving train. Most of the individual gags are funny, but Professor Beware is several notches below the standard set by Harold Lloyd's silent films. The lukewarm boxoffice response to this film would convince Lloyd that he should retire from performing--which he did, returning to the screen only for 1947's Sins of Harold Diddlebock. ~ Hal Erickson, All Movie Guide

The inimitable Preston Sturges originally scripted Hotel Haywire with George Burns and Gracie Allen in mind, but by the time the film went before the cameras, the Burns and Allen roles had been recast with Benny Baker and Colette Lyons -- and significantly abbreviated in the process. A dentist named Parkhouse (Lynne Overman) plays a practical joke on a poker-playing buddy by sending him home with a lady's chemise stuffed in his coat pocket. The gag backfires, whereupon Parkhouse finds himself in hot water with his own wife (Spring Byington). Threatened with divorce, Parkhouse is advised by a zany astrologer to frame Mrs. P. in a compromising situation at the Hotel Haywire, enlisting amateur detectives Bert and Genevieve Sterns (Baker and Lyons) in his scheme. Things get really hectic when Parkhouse's daughter Phyllis (Mary Carlisle) and her sweetheart Frank (John Patterson) show up at the same hotel. The film is dominated by the antics of larcenous astrologer Zodiac Z. Zippe, played with comic ferocity by Leo Carrillo. ~ Hal Erickson, All Movie Guide

By 1937, everyone was tired of films about silent stars who couldn't make the transition to talkies (and would be until Singin' in the Rain), but this Columbia comedy-drama still had its moments in spite of gross inaccuracies. Richard Dix is Western star Tim Bart, a screen hero who is adored by children everywhere. All that changes when sound comes in -- outdoor pictures are risky because of sound problems and Bart's screen test proves that he can't possibly play indoorsy society men. On the other hand, his co-star Gloria Gay (Fay Wray) is a natural for glamour. The studio offers to keep Bart on if he will play gangsters and bank robbers, but he refuses to let his young fans down by becoming a bad guy. (All this makes you want to ask, "What about 1930's Academy Award-winning Cimarron, in which Dix was the star?" The writers at Columbia must have had extremely short memories!) Bart's career dries up, while Gloria's flourishes -- at least for a while. With his ranch foreclosed and no work forthcoming, Bart decides to leave Hollywood. But then, Billy (Billy Burrud) shows up on his doorstep -- he's one of the kids Bart visited in a hospital. The boy has no family and begs to stay, so Bart relents. He even throws Billy a party which is attended by all the stars of the day (actually they're the stars' doubles, but Billy never guesses). Gloria also shows up and admits that her career is on the outs, too. The desperate Bart walks into a bank just as it's being robbed. He gets into a shoot-out with the crooks and becomes a real-life hero. With his name in all the papers -- and Westerns once again a popular commodity -- the studio signs him up to a new contact, along with Gloria. Franklin Pangborn does one of his amusing turns in a bit part as a dialog coach. ~ Janiss Garza, All Movie Guide

The "ex" of the title is daffy mystery-writer Jean Arthur, former wife of urbane doctor William Powell. When Powell becomes the prime suspect in a murder case, Arthur endeavors to solve the case herself -- and to reclaim her ex-hubby in the process. After a well-directed semiclimax at a race track, the killer is revealed during one of those expository scenes in which all the suspects are gathered together in one room. The murderer attempts to escape, and Powell is knocked cold in the process. When he awakens, he discovers that Arthur has set up some projection equipment, and is running a film of a minister reciting the wedding vows. Curses! Trapped again! Like William Powell's previous RKO effort Star of Midnight, The Ex-Mrs. Bradford was an attempt to cash in on the popularity of Powell's Thin Man films. ~ Hal Erickson, All Movie Guide

One Horse Town is the TV title for MGM's 1936 version Small Town Girl (the new title was bestowed to avoid confusion with the 1953 remake). Robert Taylor plays an irresponsible playboy who is arrested in a backwater town for drunken driving. While intoxicated, Taylor proposes to local girl Janet Gaynor. She accepts, knowing full well that he wouldn't have popped the question had he been sober. Gaynor spends the rest of the film trying to reform Taylor and to get him to fall in love with her while he's got all his faculties--no small trick, in that her competition is sophisticated Binnie Barnes. ~ Hal Erickson, All Movie Guide

When Edna May Oliver decided to leave RKO Radio's "Hildegarde Withers" series, the studio came up with an unorthodox replacement in the form of the dry-witted Helen Broderick. Murder on a Bridle Path turned out to be Broderick's only appearance in the series, after which she was succeeded by ZaSu Pitts. The plot begins to thicken when flirtatious society bride Violet (Sheila Terry) is killed early one morn while riding her horse in New York's Central Park. Investigating the case is Inspector Piper (James Gleason), who once more is flustered by the well-intentioned interference of crime-solving schoolmarm Hildegarde Withers. The clues this time include a sinister ex-husband, a broken bicycle, and a phony prison pardon. As always, Hildegarde arrives at the solution before Piper does -- and, as always, nearly loses her own life in the process. ~ Hal Erickson, All Movie Guide

Paul Muni is a prominent physician who is kidnapped by gangsters and forced to tend the needs of head crook Barton MacLaine. MacLaine takes a liking to the intellectual doctor and allows him to go home after his job is done. Muni finds himself the reluctant "staff physician" for the gangster, thus is periodically spirited away from his practice to look after the criminal. He has given his word not to "rat" on the crooks, but he can't sit idly by while the gangsters loot the city. Muni foils the crooks by injecting them with a drug which induces temporary blindness. Dr. Socrates was remade in 1939 as King of the Underworld, with Humphrey Bogart as the gangster boss and actress Kay Francis in Paul Muni's role (with surprisingly few dialogue alterations to accommodate the gender switch!) ~ Hal Erickson, All Movie Guide

In this comedy, a toothpaste magnate's mischievous daughter, tired of her father's traditional ways of conducting business, joins forces with her father's rival and a crazy inventor. Together they create "Cocktail Toothpaste." The new concoction tastes like whiskey in the morning, a martini at suppertime, and champagne at night. The stuff is a big success thanks to radio advertising. This teaches her stodgy old dad a good lesson. ~ Sandra Brennan, All Movie Guide

Dithery ZaSu Pitts is miscast as novelist Stuart Palmer's crime-solving schoolmarm Hildegarde Withers in The Plot Thickens. As usual, Hildegarde tries to figure out the connection between two ostensibly unrelated murders. The unifying factor turns out to be a priceless museum artifact, targeted for pilfering by a gang of international art thieves. James Gleason, a holdover from RKO Radio's previous Hildegarde Withers films with Edna May Oliver and Helen Broderick, is back as Hildegarde's friendly nemesis, Inspector Oscar Piper. The Plot Thickens was released in Great Britain as The Swinging Pearl Mystery. ~ Hal Erickson, All Movie Guide

The film that revived Edward G. Robinson's career after a string of flops, along with A Slight Case of Murder (1938), it was one of the few comedies on his lengthy list of credits. The gangster-comedy was unusual in the composition of its writing staff, which included frequent Frank Capra collaborators Robert Riskin and Jo Swerling, as well as tough-guy scribe W.R. Burnett, who wrote Little Caesar (1931) and High Sierra (1941). The plot centers on the confusion surrounding the uncanny resemblance of a mild-mannered advertising clerk, Arthur Jones (Robinson), to escaped convict "Killer" Mannion. After the police mistakenly arrest the clerk, they give him a passport to avoid repeating the error. As a novelty, newspaper man Healy (Wallace Ford) hires the clerk, an aspiring writer, to do a series on his impressions of Mannion. But later, the convict appears at Jones' apartment and demands the passport for his own protection, threatening the fearful clerk if he reveals anything about his visit. The criminal also orders Jones to write the series of articles based on his reminiscences, which alerts the police that something strange is going on. Although the district attorney finally places Jones in jail under protective custody, for his safety, Mannion switches places with him in order to kill another inmate. ~ Michael Costello, All Movie Guide

A best-selling nonfictional book of the 1920s provided the title for this Will Rogers vehicle. Rogers plays a small town newspaper editor who prints all the news that fits his own homespun view of the world. Against the wishes of the town higher-ups, Rogers tries to clear the name of Richard Cromwell, a young man accused of a long-ago bank robbery. Along the way, the genial editor smooths the path of romance between Cromwell and sweet Rochelle Hudson. Life Begins at 40 contains some great bits of dialogue, notably Rogers' comment after unloading a box of canned goods that the American emblem should be changed from an eagle to a can opener. ~ Hal Erickson, All Movie Guide

Nathaniel West's novel Miss Lonelyhearts inspired two films of the early 1930s: Advice to the Lovelorn (33) and Hi, Nellie! Paul Muni stars in the latter film as a big-city newspaper editor who gets in trouble for printing unsubstantiated information about a murder case. Muni is demoted and forced to write the paper's advice column, signing himself "Nellie." As he recklessly dispenses frivolous advice, Muni keeps tabs on the person he'd accused of murder. Using his "Nellie" connections, Muni gets the goods on the killer--and nearly gets rubbed out by a gangster mob. Warner Bros. must have been crazy about Hi, Nellie!, since the studio remade the film three times: Love is on the Air (37), You Can't Escape Forever (42), and House Across the Street (49). ~ Hal Erickson, All Movie Guide

Harold Lloyd plays Ezekial Cobb, a missionary's son who has spent his entire life in China. Cobb is sent to his father's home church in California, where it is hoped he will find a wife. A true babe in the woods, Cobb is befriended by politician Jake Mayo (George Barbier). Mayo is a cog in a crooked political machine whose bosses plan to set up a "reform" candidate for mayor, so that they can continue their underhanded activities unmolested. The candidate drops dead, so Mayo sets up the innocent Cobb as the mayor-to-be--a "cat's paw" to deflect attention from the system's corruption. But once elected, Cobb takes his duties quite seriously and begins to clean up the town. The machine frames Cobb with planted evidence of wrongdoing, destroying the lad's political career. Undaunted, Cobb remembers the story of an ancient Chinese leader, who, similarly disgraced, took the law in his own hands and executed all known criminals in his last days of power. Cobb orders that every crook in town be rounded up and brought to a dark cellar. He insists that they confess their crimes or face instant death--and backs up his words by "beheading" two of the crooks on the spot! Actually, these executions are cleverly designed magical illusions, and no one is really killed; but the terrified criminals are so hoodwinked by Cobb's apparent cold-bloodedness that they literally climb over one another to confess. Cobb is exonerated, and honesty is restored to his administration. While not Harold Lloyd's best feature film, The Cat's Paw is definitely his most unorthodox. ~ Hal Erickson, All Movie Guide