Robert Dudley Movies

In this romantic melodrama, Bette Davis plays twin sisters for the first time (she would do so again in 1964's Dead Ringer). Kate Bosworth (Davis) is a sincere, demure girl and talented artist. Her twin sister Pat (also Davis) is a flamboyant, man-hungry manipulator. Orphans, the girls' guardian is their cousin, Freddie Lindley (Charles Ruggles), with whom Kate elects to spend a summer on Martha's Vineyard. There, she meets Bill Emerson (Glenn Ford), a handsome engineer spending a summer vacation as a lighthouse inspector. Kate falls deeply in love with Bill, but when Pat shows up, he goes for the more exciting sister, eventually marrying her. Devastated, Kate throws herself into her art, but she becomes discouraged under the tutelage of an abusive master, Karnock (Dane Clark). A sailing accident gives Kate the chance to take her sister's place -- but can she fool Bill into believing that this sweet, innocent woman is his philandering, scheming wife? A Stolen Life (1946), a remake of an earlier picture by the same name that had been produced by Paramount only seven years earlier starring Elisabeth Bergner in the twins role, was nominated for a Best Special Effects Oscar. ~ Karl Williams, All Movie Guide

A primitive early talkie from Pathé, this crime drama starred relative newcomers Robert Armstrong and Carole Lombard, the latter still spelling her first name Carol. They play husband and wife, she threatening divorce unless he devotes more of his time to their marriage. In reality, Armstrong is an undercover detective busy investigating a dope ring lead by Reno (Sam Hardy), a crook with friends in high places. When Armstrong gets too close to the truth, Reno has him framed in the murder of corrupt newspaper publisher Addison (Charles Sellon). A Dictaphone recording Addison was making when he was murdered ultimately exonerates Banks, who can now return to his forgiving wife. Both Robert Armstrong and Carole Lombard would see their careers soar in the 1930s, he as the nominal star of King Kong (1933), she as one of Hollywood's best light comediennes. In fact, director Gregory La Cava and Lombard would collaborate again on My Man Godfrey (1936), one of the era's best screwball comedies and a far cry from the pedestrian Big News. ~ Hans J. Wollstein, All Movie Guide

Orson Welles first feature film -- which he directed, produced, and co-wrote, as well as playing the title role -- proved to be his most important and influential work, a ground-breaking drama loosely based on the life of William Randolph Hearst which is frequently cited as the finest American film ever made. Aging newspaper magnate Charles Foster Kane (Orson Welles) dies in his sprawling Florida estate after uttering a single, enigmatic final word -- "Rosebud" -- and newsreel producer Rawlston (Phil Van Zandt) sends reporter Jerry Thompson (William Alland) out with the assignment of uncovering the meaning behind the great man's dying thought. As Thompson interviews Kane's friends, family, and associates, we learn the facts of Kane's eventful and ultimately tragic life: his abandonment by his parents (Agnes Moorehead and Harry Shannon) after he becomes the heir to a silver mine; his angry conflicts with his guardian, master financier Walter Parks Thatcher (George Coulouris); his impulsive decision that "it would be fun to run a newspaper" with the help of school chum Jedediah Leland (Joseph Cotten) and loyal assistant Mr. Bernstein (Everett Sloane); his rise from scandal sheet publisher to the owner of America's largest and most influential newspaper chain; his marriage to socially prominent Emily Norton (Ruth Warrick), whose uncle is the President of the United States; Kane's ambitious bid for public office, which is dashed along with his marriage when his opponent, corrupt political boss Jim Gettys (Ray Collins), reveals that Kane is having an affair with aspiring vocalist Susan Alexander (Dorothy Comingore); Kane's vain attempts to promote second wife Alexander as an opera star; and his final, self-imposed exile to a massive and never-completed pleasure palace called Xanadu. While Citizen Kane was a film full of distinguished debuts -- along with Welles, it was the first feature for Joseph Cotten, Everett Sloane, Ray Collins, Agnes Moorehead, and Ruth Warrick -- the only Academy Award it received was for Best Original Screenplay, for which Welles shared credit with veteran screenwriter Herman Mankiewicz. ~ Mark Deming, All Movie Guide

This drama was an early starring vehicle for fledgling star (Eleanor Boardman), and it was given a haunting directoral approach by Tod Browning, who hadn't yet devoted himself completely to horror films. After the death of philanthropist Blank Hendricks (Winter Hall), Jane Maynard (Boardman) devotes her life to his institution, which helps the needy with the philosophy, "Thy neighbor as thyself." John Anstell (Wallace MacDonald), whose father, Michael (Tyrone Power Sr.), is a formidable financial force, falls in love with Jane. Michael, who does not approve of the relationship, tries to ruin the Foundation by discrediting it in the press, and when that doesn't work, he attempts to use his financial power to destroy it. The many who have been helped by the Foundation retaliate by killing John. The grieving Anstell comes to realize that Jane really is doing good work and he reforms. Jane, meanwhile, finds happiness with Tom Barnett (Raymond Griffith). ~ Janiss Garza, All Movie Guide

In this musical drama, a Vermont farm lad goes to the Big Apple to become a member of the National Dairy Association. He happens to bring with him his beloved trombone. Soon, with the help of bandleader Skinnay Ennis, the boy gets a job in a nightclub and subsequently becomes a popular radio star. His girlfriend back home is not amused. Eventually she slides on back into his life. Songs include: "My Melancholy Baby," "My Devotion," "Ain't Misbehavin," "Swingin' the Blues," "Spellbound," "Hilo Hattie," "The Army Air Corps," "Rosie the Riveter," and "Don't Tread on the Tail of Me Coat." ~ Sandra Brennan, All Movie Guide

Harold Lloyd plays a wealthy young spendthrift who is upset that his name is being used to bring parishioners into a storefront mission in the poorer part of town. He heads to the mission to have it out with the minister, only to fall in love with minister's daughter Jobyna Ralston. Realizing that the use of his name as an endorsement was an honest error on Ralston's part, Harold decides to help the girl's father attract worshippers and hymn-shouters. He goads a bunch of thugs and pluguglies into the mission, then makes certain that they stay--and secures their undying loyalty--by saving them from being arrested. Harold and Jobyna decide to get married, whereupon Harold's wealthy chums, dismayed that he is marrying beneath his station, kidnap the poor fellow to prevent him from making a "mistake". Harold is rescued by his tough-guy slum pals, but not before they've gotten themselves drunk and commandeered a double-decker bus. The climactic chase is as hilarious and exciting a piece of celluloid as has ever been produced, but it is merely the capper to an uninterrupted stream of brilliant sight gags. Long underrated, For Heaven's Sake is one of the cleverest and most consistently entertaining of all of Harold Lloyd's silent vehicles. ~ Hal Erickson, All Movie Guide

Mae West is Goin' to Town in this elegant post-Production Code vehicle. West plays Cleo Borden, a nouveau riche cattle rancher who hopes to crash into high society. Though she is willing to subject herself to "refinement" lessons, she still has a high old time puncturing the pretensions of those around her: when aristocratic Ivan Valadov (Ivan Lebedeff) haughtily announces that he is the backbone of his family, West gives him the once-over and replies "Then your family'd better see a chiropractor." Through the connections of her husband-by-convenience Fletcher Colton (Monroe Owsley), Cleo is able to move freely among the glitterati of Southhampton but is forced to rely on her tried-and-true "street smarts" when she crosses swords with haughty villainess Grace Brittony (Marjorie Gateson) at a Buenos Aires race track. Through it all, aristocratic British engineer Edward Carrington (Paul Cavanaugh) awaits the opportunity to claim Cleo for his own -- as if anyone could ever "own" our fiercely self-reliant heroine. The film's highlight is a society operatic gala, in which Mae West delivers a serious (and most effective) rendition of "My Heart at Thy Still Voice" from Samson and Delilah. In a more characteristic vein, the star gets down and dirty (well, at least semi-dirty) with "He's a Bad Bad Man, But He's Good Enough for Me." ~ Hal Erickson, All Movie Guide

Ginger Rogers gives a dramatic performance in this moving romantic drama in which a woman named Mary Marshall, who was convicted of manslaughter (she defended herself when her lecherous boss attempted to rape her and she accidentally killed him), is granted a ten-day furlough for Christmas to visit relatives. Once out, she encounters a shell-shocked vet (Joseph Cotten) on leave from the VA psych ward on a train. The unstable vet has been allowed out by his doctors to see if he is ready to function in normal society. At first, the vet is nervous around Mary, but something clicks and she invites him to stay at her house during their respective breaks. Together they attempt to have a happy Christmas while dealing with the vet's problems. At first Mary keeps her own past and troubles to herself, but as they begin falling in love, she decides to tell him the whole story. In this way, the two reconcile their pasts and move closer toward forming a relationship. ~ Sandra Brennan, All Movie Guide

Lewis Milestone directs the lightweight romantic comedy Lucky Partners, based on a story by Sacha Guitry. David Grant (Ronald Colman) is an artist in New York's Greenwich Village. After he wishes good luck to passing ingenue Jean Newton (Ginger Rogers), she is immediately offered a beautiful dress. Thinking that David is lucky, she agrees to go in with him on a ticket for the Irish Sweepstakes. Their horse wins the race, and he asks her to accompany her to Niagara Falls to celebrate their winnings. Jean's fiancé, Freddie Harper (Jack Carson), is not pleased about the arrangement, so he follows them. Eventually Jean and David fall for each other and they end up in the courthouse, where the judge ($Harry Davenport) sorts everything out in favor of the new couple. Lucky Partners was released in 1940, the same year Rogers gave her Oscar-winning performance in Kitty Foyle: The Natural History of a Woman. ~ Andrea LeVasseur, All Movie Guide

Although this comedy had an awful lot of inconsistencies, it still was an nicely entertaining programmer -- plus it had the presence of handsome Jack Holt, as Horace Winsby, the lead character. Winsby is a millionaire beet sugar king who owns nearly all of California's San Geronimo Valley -- and he has mortgages on what's left over. But he's also a condescending snob who has no mercy for his debtors and that wins him no friends. He even patronizes Patricia Owens, the girl he loves (Eva Novak), and she turns down his marriage proposal. When it becomes all-too apparent that Winsby has one too many enemies in San Geronimo, he goes to New York to wait for things to cool down. He runs up a big bill at a posh hotel, and when he loses his wallet, he is unable to pay. So the hotel attaches his luggage and throws him out onto the street. Winsby has no choice but to head for a nearby park where he befriends a bum who shows him how to get by. Patricia comes to New York with her father (Joseph P. Lockney), and they find out about Winsby's dilemma. They finally trace him to a hash house where he is working as a dishwasher, a much humbler and happier man. After he straightens things out with the hotel, Winsby extends the mortgages of his debtors and brings his bum friend back home with him. Patricia approves of the new Winsby and agrees to marry him. ~ Janiss Garza, All Movie Guide

This formulaic drama didn't miss a cliché -- there was the small-town boy with big dreams (Kenneth Harlan), his old mother (Mary Carr), the pretty daughter (Madge Bellamy) of the wicked financier (Edwards Davis), and the villainous attorney who's really causing all the trouble (John Miljan). Put all these characters together, and the plot falls right in line -- Lafayette Jordan (Davis) wants to build a water power project in the Ashaluna valley, but property belonging to Judson Forrest (Harlan) and his mother (Carr) stands in the way. Forrest has fallen in love with Jordan's daughter, Mary (Bellamy), without realizing who she is. Henry Mogridge, Jordan's attorney (Miljan), is jealous because he wants Mary himself, so he goes about trying to ruin Forrest. Judson is an aspiring inventor and he mortgages his property in order to fund one of his creations. With the help of the village banker, Mogridge buys the mortgage and proceeds to foreclose. Forrest thinks Mary is part of the scheme, but he and his pals manage to pay off the mortgage just in the nick of time (which happens to be "on the stroke of three"). Forrest discovers that Mary had nothing to do with the plot and that Jordan had no idea of Mogridge's machinations. The motion picture was adapted from the novel The Man From Ashaluna by Henry Payson Dowst. ~ Janiss Garza, All Movie Guide

Eight year old Paddy O'Day (Jane Withers) arrives at Ellis Island after a long sea voyage from Ireland, to be with her mother. But her mother is nowhere to be found when the ship docks, and the authorities are notified that Mrs. O'Day has died, only a few days ago -- the little girl will have to be sent back. Paddy has only been told that her mother is ill, and manages to sneak out off the island. After encountering a group of street urchins who try to make trouble for her -- and proving that she's got what it takes to take care of herself -- she makes her way to the large mansion on Long Island where her mother works, and learns the truth. The home is owned by Roy Ford (Pinky Tomlin), a studious upper-class bird fancier who has been browbeaten into life as an eccentric collector of stuffed birds by his two overbearing aunts (Vera Lewis, Louise Carter) -- their intention is to notify the authorities if Paddy shows up. But the servants, led by kindly maid Jane Darwell and initially unwilling butler Russell Simpson, decide to hide the child in the house while the aunts are away. Paddy chances to meet Roy, who takes a liking to her and decides to try and help her as well -- and when Paddy's very pretty shipboard friend Tamara Petrovich (Rita Cansino) shows up, along with her restauranteur cousin Mischa (George Givot), he starts to really come out of his shell. Mischa and Tamara will hide the little girl, and Mischa -- with help from a beverage new to Roy, called vodka -- convinces the young millionaire that there is a future in investing in his establishment. Roy likes the loosening up effect that vodka has on him, and also likes even more being around Tamara, and he soon becomes a new man -- not only a partner in the business, but a performer in the stage show that Mischa works up for his now-expanded restaurant/night club, which includes Paddy along with Tamara. But Roy's aunts have returned home, and are as appalled by their nephew's new, joyful approach to life as they are by his apparent infatuation with an immigrant girl and her family. They hire an investigator (Clarence H. Wilson) to try to prove that Roy is mentally incompetent, and he soon discovers that the little Irish waif working in the act is in the United States illegally, a fact that, once reported to the authorities, will get not only get Paddy deported by Tamara as well. ~ Bruce Eder, All Movie Guide