Robert Dudley Movies

In Portrait of Jennie, Joseph Cotten plays an artist, Eben Adams, who is unable to bring any true feeling to his work. While painting in Central Park one morning, Eben makes the acquaintance of a schoolgirl named Jennie (Jennifer Jones), who prattles on about things that happened years ago. Intrigued at her thorough knowledge of the past, Eben is about to converse with her further, but Jennie has vanished. Over the next few months, Eben meets Jennie again and again -- and each time she seems to have aged by several years. He paints her portrait, which turns out to be more full of expression and emotion than anything he's previously done. His curiosity peaked by Jennie's enigmatic nature, Eben uncovers evidence that he has been conversing -- and falling in love -- with the ghost of a girl who died years earlier in a hurricane. On the eve of the hurricane's anniversary, Eben rushes to meet Jennie at the site where she was supposedly killed. As a new storm rages, Jennie vanishes for good, but not before declaring that the love she and Eben have shared will live forever. Rescued from the storm, Eben convinces himself that Jennie was a mere figment of his imagination. Then he notices that he stills clutches her scarf in his hand. He looks at his portrait of Jennie (the only Technicolor shot in this otherwise black-and-white film) and understands what she meant when she said that their love would endure throughout eternity; it will do so through Cotten's art, both the portrait at hand and all future portraits. Based on the novel by Robert Nathan, Portrait of Jennie is one of the most beautifully assembled fantasies ever presented onscreen. Producer David O. Selznick's unerring eye for "rightness" enabled him to select the perfect stars, supporting cast (Lillian Gish, Ethel Barrymore, David Wayne, Cecil Kellaway, et al.), director, cinematographer (Joseph August), and composer (Dimitri Tiomkin, who based his themes on the works of Debussy), and blend everything into one ideally balanced package. ~ Hal Erickson, All Movie Guide

Wildcatters in search of a gusher during the late 1920s provide the basis of this comedy-drama that centers on a rambunctious trio of men. When not drinking and fighting, the three are enthusiastically drilling for black gold. The trouble begins when one of the wildcatters grows dissatisfied with their lifestyle and quits so he can be with his new wife. Unfortunately for him, soon after he leaves, the other two find their gusher and become filthy rich. The impoverished quitter, is envious and begins looking for an obscure law that will force his pals to share. His wife is disgusted by his greed and takes off until he settles down. In the end, the fellow does come around and ends up helping another hopeful group of independent drillers. ~ Sandra Brennan, All Movie Guide

Absent from films since 1938 (except as producer of a brace of RKO Radio features), silent-screen comedy favorite Harold Lloyd returned before the cameras in The Sin of Harold Diddlebock. The project began as a labor of love between Lloyd and the brilliant, innovative producer/writer/director Preston Sturges. Though these two comedy geniuses eventually had a stylistic falling out, resulting in an uneven, spasmodically dreary film, on the whole Harold Diddlebock is well worth having. Sturges cleverly opens the picture with the final reel of Lloyd's silent classic The Freshman(1925), in which the drudge of the college football team makes good and scores the winning touchdown. The story proper begins in the locker room, where football hero Harold Diddlebock (Lloyd, looking three decades younger than his 53 years) is impulsively offered a job by banker J.E. Wagglebury (Raymond Walburn). Taking his place at his new desk and festooning his walls with inspirational homilies, Harold starts to work, supremely confident that he's poised on the brink of bigger things. Twenty-three years pass: In 1946, a weary, stoop-shouldered Harold is still at the same desk at the same job, his dreams of success but a dim memory. Summarily fired by the pompous Wagglebury ("You have not only ceased to go forward, you have gone backward"), Harold collects his final paycheck, cleans out his desk, and bids farewell to office girl Miss Otis (Frances Ramsden), all of whose older sisters had previously been Harold's sweethearts. Wandering aimlessly on the street with his severance pay in hand, Harold is spotted by a dessicated street hustler named Wormy (Jimmy Conlin), who inveigles the newly fired clerk to join him at a nearby bar. Informed that Harold has never taken a drink in his life, the bartender (Edgar Kennedy) lights up and declares, "Sir, you rouse the artist in me!" With great ceremonial flourish, the bartender concocts a potent beverage called the Diddlebock. Harold takes one sip of the brew, lets out a yell, and immediately loses all the inhibitions that have kept him from advancing himself in the past two decades. With Wormy in tow, Harold goes on a wild spending and carousing spree, totally losing track of an entire day-and-a-half.

At the end of his revelry, the hung-over Harold is awakened by his sister (Margaret Hamilton), who informs him that he's bought a garish new wardrobe, a ten-gallon hat, and goodness knows what else. He soon finds out what else when he ventures into the street and is informed that he's bought a horse-drawn cab (with driver!) -- and a circus, complete with hungry lions. Quickly formulating a plan to get rid of the circus at a substantial profit, Harold decides to elicit bids from the town's various bankers, bringing Jackie the Lion along with him so that the bank guards won't stop him at the door. All of this leads to a wild recreation of Lloyd's skyscraper-teetering gags from his silent days, a noisy episode at the local jail, and a romantic tête-à-tête with Miss Otis, who reveals at the very end how Harold really spent his "missing" Wednesday! Though it tested well upon its first release, Sin of Harold Diddlebock was abruptly withdrawn from circulation by its co-producer Howard R. Hughes, who spent four years reediting and sometimes reshooting the film before finally releasing it through RKO as Mad Wednesday. Both this version and the original Sin of Harold Diddlebock still exist; while the earlier version is undeniably richer in comic invention and characterization, the shortened Mad Wednesday works better in front of an audience. Neither version completely fulfills the potential of its premise, however. Though not to be missed, this final Harold Lloyd vehicle pales in comparison with his vintage silent comedies. ~ Hal Erickson, All Movie Guide

With a title like Singin' in the Corn, how could the star be anyone else but rambunctious rustic comedienne Judy Canova. This time, Canova plays Judy McCoy, a carnival mind-reader playing the boonies in the company of her partner Glen Cummings (Allen Jenkins). Judy's travelling days come to an end when she inherits her late uncle's estate. But the will has a proviso: She won't get a penny unless she returns a ghost town to a local singing Indian tribe (That's right, operator, a singing Indian tribe). The villain, Honest John Richards (Alan Bridge), connives to turn the Indians against Judy, but she is rescued by the intervention of her uncle's ghost! Director Del Lord, a graduate of Columbia's comedy 2-reelers, relies heavily on stock footage from earlier films to bring the running time up to 64 minutes: one critic commented that editor Aaron Stell should have been credited as co-director. ~ Hal Erickson, All Movie Guide

Deanna Durbin offered her fans a change of pace in this mystery story seasoned with elements of comedy and music. Nikki Collins (Durbin) is a small-town girl visiting New York City to meet with Mr. Haskell (Edward Everett Horton), her family's attorney. As her train pulls into the station, she looks out her window into a nearby office building. She's shocked by what she sees -- a man is being strangled to death, and while she can't see the face of the killer, she gets a good look at the victim. Terrified, Nikki immediately goes to the police, but they think that her story is simply the product of an overactive imagination and send her on her way. Nikki, however, is certain that she witnessed a murder, and she approaches mystery writer Wayne Morgan (David Bruce) to help her piece together the facts of what happened. Thanks to a newsreel, Nikki is able to recognize the victim as Mr. Waring, a wealthy man who made his fortune in shipping; she attempts to contact Waring's family, but they're convinced that Nikki is a nightclub singer with whom the tycoon was having an affair. Hoping to contact the chanteuse in question, Nikki visits the club where she works, only to discover that she's also been murdered. Nikki soon finds herself being trailed by both Jonathan (Ralph Bellamy) and Arnold (Dan Duryea), two members of Waring's family whom she believes may have been involved in the crime, and could be trying to silence her once and for all. Like most of Durbin's vehicles, Lady on a Train's plot stops every now and then to give her the opportunity to sing a song; Western fans may want to keep an eye peeled for future cowboy star Lash LaRue, who has a small role as a waiter. ~ Mark Deming, All Movie Guide

Based on a novel by Barry Fleming, Colonel Effingham's Raid stars Charles Coburn in the title role. Upon retiring from the army, Effingham returns to his home town of Fredericksville, Georgia. Dismayed by the town's paucity of civic pride, the Colonel begins writing a newspaper column honoring Fredericksville's old traditions and chastizing those who would tear those traditions down. His pet peeve is the city administration's plan to rename Confederate Square after the pompous, mildly corrupt town mayor (Thurston Hall). When it seems that his protests are falling upon deaf ears, Colonel Effingham literally stage a "military assault" against City Hall, which in real life would get him thrown in the looney bin but which in a whimsical comedy of this nature results in a smashing success for the "good guys". If Colonel Effingham's Raid seems to be popping up on TV at a rate of once a day, it is because the film lapsed into public domain in 1973. ~ Hal Erickson, All Movie Guide

"Some are born great, some achieve greatness, some have greatness thrust upon 'em." Firmly in the latter category is Norval Jones (Eddie Bracken), a feckless wartime 4-F who must stand by helplessly as his sweetheart Trudy Kockenlocker (Betty Hutton) entertains every visiting GI in town. One morning after a particularly wild night, Trudy labors under the apprehension that last eve, she'd married a soldier named Ratzkywatzky or something. Evidently something had happened that night, for soon Trudy discovers that she's pregnant. Hiding this information from her bombastic policeman father (William Demarest), Trudy begs Norval to tell the world that he's the father. He agrees, but only after secretly wedding Trudy under an assumed name. Complications and disasters pile up thick and fast, and before long Norval is facing arrest on a variety of charges. Providentially, Trudy gives birth to sextuplets-and suddenly Norval is a national hero! This vintage Preston Sturges farce plays so fast and loose with the censorial restrictions of mid-1940s Hollywood that critic James Agee was moved to comment that, "the Hays office must have been raped in its sleep." As usual, Sturges populates his cast with steadfast members of his stock company-- including, in guest roles, Brian Donlevy and Akim Tamiroff, the stars of his previous film, The Great McGinty. Originally filmed in 1942, Miracle was held from release from two years, not because of censor problems but because its parent studio, Paramount, was overloaded with product. Miracle of Morgan's Creek was remade (and considerably laundered) as the 1958 Jerry Lewis vehicle Rock-a-bye Baby. ~ Hal Erickson, All Movie Guide

When he finds out his ex-wife has just had his child and plans to give her up for adoption, a timid English instructor dashes to the child's rescue and attempts to care for her in a hotel room. Before too long, however, his new fiancee and his ex confront him and he must decide what he will do. This light comedy starring Gary Cooper, Theresa Wright and Anita Louise garnered Oscar nominations for Sound and Art Direction and was previously filmed under the title Little Accident in 1930 and 1939. ~ Kristie Hassen, All Movie Guide

Comedian Morey Amsterdam and cartoonist Milt Gross were responsible for the script of the low-budget comedy The Ghost and the Guest. James Dunn and Florence Rice play newlyweds Webster and Jackie Frye, who spend their honeymoon in a sinister old country house. Before long, the Fryes are besieged by a gang of crooks, searching for a fortune in diamonds. With the nervous help of black chauffeur Harmony Jones (Sam McDaniel), the honeymooners attempt to outfox the villains. ~ Hal Erickson, All Movie Guide

An Iowa drugstore owner (Don Ameche) becomes embittered when his son is killed in World War II. The druggist believes that the boy's life was cut short before he had an opportunity to truly appreciate his existence. The grieving father is shown the error of his assumption by the ghost of his grandfather (Harry Carey), who through flashbacks details the good things about the son's short term on Earth, and the wonderful life that the druggist himself has enjoyed. Frances Dee plays Don Ameche's wife, while Ann Rutherford portrays his son's girl (who in turn is played in a flashback sequence by former Little Rascal Darla Hood). Happy Land was suitable wartime propaganda, though it doesn't play quite as movingly today. ~ Hal Erickson, All Movie Guide

Son of Dracula represents a felicitious creative collaboration between director Robert Siodmak and his screenwriter-brother Curt. The story is set in the American south, where the mysterious Count Alucard (Lon Chaney Jr.) has recently taken up residence. Katherine Caldwell (Louise Allbritton), a student of the occult, is fascinated by Alucard, so much so that she agrees to become his wife. But when Katherine begins to look and act strangely, her former suitor Frank Stanley (Robert Paige) suspects that something's amiss. Assisted by town doctor Brewster (Frank Craven) and psychologist Laszlo (J. Edward Bromberg), Frank comes to the inescapable conclusion that Count Alucard is actually the dreaded vampire Count Dracula's offspring (this much he might have figured out simply by spelling the man's name backward!) To prevent Dracula from spreading his influence throughout America, Frank and his confreres race against time to destroy the count and, hopefully, rescue poor Katherine. ~ Hal Erickson, All Movie Guide

This classic fantasy was based on a story by Stephen Vincent Benet. Jabez Stone (James Craig) is a simple New England farmer who has been suffering from a long run of bad luck. One day he mutters that he'd sell his soul for a little money and a decent crop. Moments later, who should appear but The Evil One himself, Mr. Scratch (Walter Huston). Scratch offers Stone seven years of wealth and good fortune in exchange for his soul; Stone, assuming it's some sort of joke, agrees. Soon Stone's fields are plentiful and money is rolling in, but his financial success comes with a price; he becomes a cold and greedy tyrant, losing the affection of his family and the respect of his peers. In time, Stone realizes that he's made a terrible mistake and that Scratch won't let him out of their deal without a fight. Desperate to regain his soul, Stone turns to the greatest legal and oratorical mind of his day, Daniel Webster (Edward Arnold), who challenges Scratch to put his contract with Stone to the test in a fair trial. While a critical success and a favorite of film buffs, The Devil and Daniel Webster fared poorly at the box office; it was eventually released under five different titles and clipped to 85 minutes in hopes of winning a larger audience, though it was restored to a 107-minute length for release on home video. ~ Mark Deming, All Movie Guide