Ruth Donnelly Movies

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

After nearly a decade of nominal "leading lady" roles, Carole Lombard landed her first genuine starring vehicle with Hands Across the Table. Reasoning that the way to a man's heart is through his cuticles, Regi Allen (Carole Lombard) takes a job as a manicurist at a fancy barbershop, unabashedly admitting that she hopes to use this position to snag a rich husband. Sure enough, Regi's charms prove irresistable to Allen Macklyn (Ralph Bellamy) a wealthy and charming invalid, who knows that the girl is a golddigger but doesn't care. The other man in Regi's life is Theodore "Ted" Drew III (Fred MacMurray), who though born into a wealthy family is stone broke, and on the verge of marrying a rich debutante (Astrid Allwyn) to replenish his lost fortune. Hoping to briefly escape this fate and his other financial problems, Theodore hides out in Regi's apartment. It is, of course, a platonic relationship: Having been burned in the past, Regi doesn't want to get romantically entangled with a pauper, while Ted is already promised to someone else. But, as is often the case in 1930s comedies, things don't quite turn out the way that either Regi or Ted expect. Full of delightful, unexpected touches, Hands Across the Table proved to be a major boost for Carole Lombard's career, and didn't exactly do any harm to up-and-coming Fred MacMurray either. ~ Hal Erickson, All Movie Guide

Metropolitan was the first release from the newly merged 20th Century-Fox corporation. Famed operatic baritone Lawrence Tibbett stars as Thomas Renwick, the new leading man for temperamental diva Ghita Galin (Alice Brady). After storming out of the Metropolitan Opera, Ghita organizes her own troupe, full of young, untried singers. On the eve of the company's first performance, Ghita walks out again, and it's up to Renwick to pull himself and his cohorts together to put on their own show. In other words, it's Mickey Rooney and Judy Garland with better music. Lawrence Tibbett's splendid singing voice was, alas, not enough to transform him into a satisfying screen personality. ~ Hal Erickson, All Movie Guide

The official cast list of Warner Bros. Mandalay states that Kay Francis plays a character named Tanya. For most of the film, however, the heroine -- if she can be called that -- goes by the name of Spot White (or "Spot Cash," as she's cynically designated by one of the lesser characters). Betrayed by her smuggler lover Tony Evans (Ricardo Cortez), Tanya/Spot White becomes one of white slaver Nick's (Warner Oland) stable of girls in old Rangoon. She eventually escapes this sordid lifestyle, and is later instrumental in the redemption of dissolute doctor Gregory Burton (Lyle Talbot). Falling in love with Burton, Spot White resorts to drastic measure to purge the ubiquitous Tony Evans from her life. Most sources list Shirley Temple in the cast as "Betty," but her role has apparently been excised from the currently available prints of Mandalay. ~ Hal Erickson, All Movie Guide

Josephine Hutchinson is a beautiful heiress bored by her stifling lifestyle. She bolts her family mansion on New Years' Eve and heads for a boisterous nightclub, where she meets blue-collar worker Dick Powell. Hutchinson pretends to be poor, and soon she and Powell are pitching woo. Powell has ambitions to go into business for himself, so Josephine secretly pulls strings to help him get ahead. But when Powell finds out, he renounces the girl and breaks up the relationship. Hutchinson returns to a loveless engagement with a society type, but her father has grown fond of Powell and arranges a reconciliation. Happiness Ahead isn't exactly a musical, though Dick Powell does sing the title song during the opening credits and later introduces the Warner Bros. cartoon perennial "Pop Goes Your Heart." ~ Hal Erickson, All Movie Guide

An interesting precursor to such films as The Petrified Forest and Bus Stop, Heat Lightning takes place in a remote California-desert gas station-café. Several strange characters pass through the establishment's portals during one fateful 24-hour period, including cad-and-bounder George (Preston S. Foster). Resourceful proprietress Olga (Aline MacMahon) tries to remain detached throughout but is forced to take drastic action when George threatens to seduce and abandon her own sister Myra (Ann Dvorak). Glenda Farrell, one of Warners' most reliable players, is surprisingly wasted in a glorified bit role; even further down the cast list as "Husband and Wife" are 2-reel comedy star Edgar Kennedy and future Oscar winner Jane Darwell (talk about an odd couple!) Heat Lightning was based on a stage play co-scripted by George Abbott. ~ Hal Erickson, All Movie Guide

Based on Al Jolson's 1931 Broadway hit, Wonder Bar transposes the "Grand Hotel" formula to a lavish nightclub in Paris' Montmartre district. Presiding over the evening's entertainment is manager-emcee Al Wonder (Jolson), who after greeting his guests in a multitude of languages (a la Joel Grey in Cabaret) introduces a steady stream of top variety acts. The star attraction of the Wonder Bar floor show is the Latin dance team of Inez (Dolores Del Rio) and Harry (Ricardo Cortez). Al worships Inez from afar, but she is hopelessly in love with Harry, a no-good louse who is carrying on with Liane (Kay Francis), the wife of prominent banker Renaud (Henry Kolker). Meanwhile, German military officer Captain Von Ferring (Robert H. Barrat), who has lost his fortune to bad investments, enjoys one last fling at the Wonder Bar before committing suicide. The two main subplots converge when Inez stabs Harry out of pique, whereupon the ever-loyal Al deposits Harry's body in Von Ferring's car, knowing full well that Von Ferring intends to drive himself off a steep hill to his death. Never letting Inez find out that she killed Harry, Al stands stoically aside as she finds true happiness with composer Tommy (Dick Powell). Lest this all sound heavily somberly serious, it should be noted that Wonder Bar is chock full of laughs, from both Jolson (who runs through quite a repertoire of tried-and-true routines) and the drunken antics of "tired business men" Hugh Herbert and Hobart Cavanaugh. The musical numbers staged by Busby Berkeley range from sedate to incredible, with the bizarrely racist 10-minute "Goin' to Heaven on a Mule" (truly a jaw-dropping experience) falling into the latter category. The film's most outrageous moment, however, is an uninhibited chunk of homosexual humor on the dance floor ("Boys will be boys!", crows Jolson) which just barely squeaked past the Hollywood censors! ~ Hal Erickson, All Movie Guide

Famous author Kenneth Bixby (Warren William) would like to jump-start his romance with ex-sweetheart Julie (Genevieve Tobin). There are, however, at least two people who'd prefer that Bixby stick to writing and stay away from Julie. One is Julie's husband Harvey Wilson (Hugh Herbert); the other is Bixby's loyal secretary Anne (Joan Blondell), who's been carrying a torch for her boss for years. It all winds up in a cross-country chase, with everybody suspiciously tailing everybody else. Based on a play by George Haight and Allan Scott, Goodbye Again was dutifully remade under a different title by the Warner Bros. "B" unit in the early 1940s. ~ Hal Erickson, All Movie Guide

The last--and to some aficionados, the best--of choreographer Busby Berkeley's three Warner Bros. efforts of 1933, Footlight Parade stars James Cagney as a Broadway musical comedy producer. Cagney is unceremoniously put out of business when talking pictures arrive. To keep his head above water, Jimmy hits upon a swell idea: he'll stage musical "prologues" for movie theatres, then ship them out to the various picture palaces in New York. Halfway through the picture, Cagney is obliged to assemble three mammoth prologues and present them back-to-back in three different theatres. There are all sorts of backstage intrigues, not the least of which concerns the predatory hijinks of gold-digger Claire Dodd and the covetous misbehavior of Cagney's ex-wife Renee Whitney. Joan Blondell plays Jimmy's faithful girl-friday, who loves him from afar; Ruby Keeler is the secretary who takes off her glasses and is instantly transformed into a glamorous stage star; Dick Powell is the "protege" of wealthy Ruth Donnelly, who makes good despite this handicap; Frank McHugh is Cagney's assistant, who spends all his time moaning "It'll never work"; and Hugh Herbert is a self-righteous censor, who ends up in a censurable position. The last half-hour of Footlight Parade is a nonstop display of Busby Berkeley at his most spectacular: the three big production numbers, all written by Harry Warren and Al Dubin, are "By a Waterfall", "Honeymoon Hotel", and "Shanghai Lil", the latter featuring some delicious pre-code scatology, a tap-dance duet by Cagney and Keeler, and an out-of-left-field climactic salute to FDR and the NRA! ~ Hal Erickson, All Movie Guide

The wonderful Warner Bros. stock company goes through its customarily breezy paces in Havana Widows. Joan Blondell and Glenda Farrell star as Mae and Sadie, a couple of hard-boiled dames who support themselves by shaking down wealthy and susceptible older men in Havana. Their current target is Deacon Jones (Guy Kibbee), a self-appointed moralist whose rock-ribbed values disappear after the third drink. But Blondell spoils the scam when she falls in love with the Deacon's son Bob (Lyle Talbot). Less than a month after the release of Havana Widows, many of the same cast members were back to their old tricks in Convention City. ~ Hal Erickson, All Movie Guide

This weepie, adapted from a play by Philip Dunning and George Abbott, is a vehicle for Ruth Chatterton as the titular Lilly. Her sufferings begin when she marries a man who later turns out to be a bigamist. She has their baby but marries another man so the child can have a father. The new husband is alcoholic and so Lilly falls in love with someone else, but when her husband breaks his back protecting her, she elects to stay with him. ~ Nicole Gagne, All Movie Guide

Although claiming to be based on actual cases, this mild crime drama appears to have been derived more from a screenwriter's manual than a police blotter. Newly transferred from robbery to missing persons, glib Butch Saunders (Pat O'Brien) is like the proverbial bull in a china shop at first, but quickly gets the hang of things. In walks pretty Norma Roberts (Bette Davis), claiming to be missing her new husband, whom she accuses of shipping out. Despite being married to nagging Belle (Glenda Farrell), Butch falls in love with the dame, until, that is, he learns the truth. Norma's last name isn't Roberts at all, but Williams, and she is wanted in Chicago for the murder of her boss, Therme Roberts. Begging Butch to cover for her -- "just for a little while. I'll explain everything later" -- Norma does a disappearing act herself and makes it look like suicide. But Butch refuses to buy the act and with the help of his boss, Captain Webb (Lewis Stone), the fast-talking cop arranges for a corpse to be lying in state at a local funeral parlor under the name of Norma Williams, hoping to flush out the real Norma. Norma walks right into the trap with another cockamamie story at the ready. But this time, it may just be the truth and Butch becomes determined to clear the lady of murder. ~ Hans J. Wollstein, All Movie Guide