James Dunn Movies

Olivia De Havilland hadn't wanted to star in RKO's Government Girl, but was forced to do so by her home studio Warner Bros. Perhaps in retaliation, De Havilland delivers a strident, overbaked performance, which serves only to make this so-so wartime comedy something of an endurance test for modern viewers. The actress plays "Smokey", the Washington DC-based secretary of Detroit automobile expert Browne (Sonny Tufts, who's actually pretty good in this one!) Aware that Browne is a babe in the woods so far as Washington lobbying, politicking and backstabbing are concerned, Smokey takes the poor boy by the hand and shows him the ropes. Despite the derivative nature of Adela Rogers St. John's screenplay-the film seems like a hybrid of Mr. Smith Goes to Washington and The More the Merrier--Government Girl was an enormous hit, posting a profit of $700,000. The film represents the film directorial debut of producer-screenwriter Dudley Nichols. ~ Hal Erickson, All Movie Guide

Three different Universal pictures made between 1922 and 1941 bore the catchall title Don't Get Personal. The 1941 film stars Hugh Herbert as a ditzy pickle manufacturer whose favorite radio program stars Jane Frazee and Robert Paige. The couple plays a bickering husband and wife on the air, and Herbert mistakes their scripted bouts for the real thing. He heads to the radio station to patch up their differences, but succeeds in embroiling the actors in a real battle. Don't Get Personal seems to have been made at the same time as Universal Hellzapoppin' (41), with at least four actors (Hugh Herbert, Robert Paige, Jane Frazee and Mischa Auer) appearing in both films. ~ Hal Erickson, All Movie Guide

In this drama, a test pilot plies his trade on a prototype medical plane. Unfortunately, when the craft is stolen, he becomes the prime suspect and is grounded. Fortunately, a female flying ace convinces her brother to employ him. Later it is revealed that the brother leads a gang of plane thieves. They take the stolen birds, including the medical plane, and sell them to other countries. To get the crook to confess, the test pilot kidnaps the thief's beloved sister. The ploy works and the purloined plane is returned, the test pilot resumes his old job, and he and the girl fall in love. ~ Sandra Brennan, All Movie Guide

The 1940 Warner Bros. quickie A Fugitive From Justice is based on Leonard Neubauer's short story "Million Dollar Fugitive." Roger Pryor plays insurance investigator Don Miller, who endeavors to hide Lee Leslie (Donald Douglas), holder of a million-dollar policy, from both the police and the underworld. Miller's efforts are frequently stymied by Mark Rogers (John Gallaudet), a Winchellesque radio reporter in cahoots with the G-Men. Our hero's allies include his wisecracking assistant Ziggy (Eddie Foy Jr., brother of Bryan Foy, the film's producer) and all-purpose heroine Janet Leslie (Lucille Fairbanks, niece of Douglas Fairbanks Sr.) A Fugitive from Justice sure looks like a remake, but a remake of what remains a mystery. ~ Hal Erickson, All Movie Guide

The bloom of youth had long faded on actor James Dunn when he starred in Shadows Over Shanghai. Even so, he is fairly convincing as hotshot newspaperman Johnny McGinty, on assignment in war-torn China (courtesy of the General Service Studios backlot). McGinty is one of several interested parties involved in a stolen Chinese amulet, which allegedly provides clues to the location of a treasure buried somewhere in America. Also searching high and low for the amulet and the treasure are refugee Russian schoolteacher Irene Roma (Linda Gray) and shady munitions dealer Howard Barclay (Ralph Morgan). To add a bit of versimilitude to the proceedings, newsreel footage of the Sino-Japanese war (from both sides) is inserted into the action, none too convincingly. Its seedy production values aside, Shadows Over Shanghai is reasonably exciting nonsense. ~ Hal Erickson, All Movie Guide

Previously teamed in six early-1930s films, James Dunn and Sally Eilers bring the total up to seven with their last co-starring vehicle We Have Our Moments. A trio of American crooks board a ship bound for Europe, intending to get rid of $100,000 in stolen dough. With detective John Wade (James Dunn) breathing down their necks, the crooks stash the loot in the trunk belonging to vacationing schoolmarm Mary Smith (Sally Eilers). As the voyage progresses, Wade falls in love with Mary, never dreaming that she's in possession of a hundred grand; in fact, she doesn't know it yet, either. Things get hectic as the villains tip their hand to recover the loot, but heroes and heroines never get killed in a romantic comedy, so rest easy. We Have Our Moments might never have been reshown after its initial 1937 release were it not for the presence in the cast of a young David Niven, billed third despite the slimness of his role. ~ Hal Erickson, All Movie Guide

A remake of Rafter Romance (1933), which starred Ginger Rogers and Norman Foster, Living On Love treats the story of two unwilling apartment-mates a bit more briskly and broadly, to the point of being downright screwy at times. This time out, it's Solly Ward as landlord Eli White, who takes two tenants (James Dunn, Whitney Bourne) who can't afford the rent they're paying, and puts them together in the same basement apartment -- the idea is that neither one will ever see the other, as Dunn is a would-be artist who works nights at a trucking company garage, and Bourne is a saleswoman with daytime hours. Inevitably, they chafe at each other's presence as each intrudes on the other's space, and come to resent each other, a fact expressed in a series of increasingly ambitious practical jokes played on one another; similar action went on in the original film, but in Living On Love it gets carried over the top, into surreal and silly moments. But as always happens in stories like this -- and in the original film as well -- the two manage to meet away from the apartment and, not realizing who the other is, fall in love. Complications ensue involving her boss (prissy Franklin Pangborn, amazingly and effectively cast as a ladies' man) and his wealthy, dominating would-be fiancee (Joan Woodbury), but the two do finally get together on a round-the-clock, permanent basis. ~ Bruce Eder, All Movie Guide

Breezy James Dunn breezes through the usual James Dunn breeziness in Two-Fisted Gentleman. Dunn is cast as a prizefighter named Mickey, who manages to survive the mean streets of New York on the strength of sheer stupidity. One of the few mildly original touches in the film is the fact that Mickey's sweetheart Ginger (June Clayworth) is also his manager. So little happens in the film that one is amazed it was based on a short story which actually had a plot. Critics complained that James Dunn brought nothing new to his characterization, but they applauded his fight scenes, which were the highlights of the picture. ~ Hal Erickson, All Movie Guide

Tailor-made for the talents of fast-talking James Dunn, Come Closer, Folks stars Dunn as sidewalk pitchman Jim Keene. Our hero manages to wangle a "legitimate" job as a small-town department-store sales clerk, instantly falling in love with boss's daughter Peggy Woods (Marian Marsh). When the store is threatened with bankruptcy, Jim enlists the aid of his fellow street hucksters to drum up business with their patented hard-sell methods, a strategy that gets him promoted to assistant manager. Eventually he runs afoul of the law, but Jim manages to smooth-talk the jury into letting him off the hook. Come Closer, Folks is another of those Columbia "B"-pictures which showed up incessantly on TV in the 1950s and 1960s then suddenly vanished when audiences demanded "newer" pictures. ~ Hal Erickson, All Movie Guide

Broadway producer George White, who was the title character of 1934's George White's Scandals, heads for Florida following his latest hit. He makes it to Georgia where he sees an advertisement for a show called White's Scandals. Suspicious, he attends and learns that it is a hodge-podge variety show put on by another fellow named White. The show isn't very good but for the talent of its star, a beautiful singer. He is deeply impressed and hires her to headline his next show in New York. Well, just having only one of the entertainers come just won't do and George ends up taking an entire entourage including the Georgia White and the singer's love-interest. Still it's for the best and the New York production is a tremendous success. Things go well until a seductress shows up and steals the singer's beau. This creates personal friction that reflects in their performances. Things get sticky for awhile and it looks as if the show is going to fall apart until the singer's peach of an aunt shows up and puts it all back together. Eleanor Powell makes her screen debut as the troublesome vamp. ~ Sandra Brennan, All Movie Guide

In this comedy, a con artist gets elected to the chamber of commerce in his home town. He then goes there with three fellow grifters who are not welcome until they pay off the bad bonds they sold the town. Fortunately, the protagonist wins a fortune at the track and pays the debt. Despite this, the three persist with their con games and mayhem ensues. ~ Sandra Brennan, All Movie Guide

Despite stiff competition like Poor Little Rich Girl and Heidi, Bright Eyes is arguably the best of Shirley Temple's 1930s vehicles. The little curly-top is cast as Shirley Blake, daughter of Mary Blake (Lois Wilson), the widowed housemaid of snooty J. Wellington and Anita Smythe (Theodore Von Eltz and Dorothy Christy). Though continually terrorized by the Smythe's obnoxious, doll-destroying daughter Joy (Jane Withers), Shirley finds comfort in the fact that she is the darling of the airplane-pilot buddies of her late father. Especially fond of our heroine is flyboy Loop Merritt, who arranges a birthday party for the girl. Alas, even as Shirley sings "On the Good Ship Lollipop" to a gathering of beaming airmen, her mother Mary is run over by a car while shopping for her daughter's birthday cake. It thus becomes Loop's painful duty to tell Shirley that her mother "cracked up," just like her father did (if this scene doesn't move the viewer to tears, the viewer is made of granite). Fortunately, the Smythe's irascible Uncle Ned takes a liking to Shirley, securing her financial future at the expense of his repulsive relatives. But before this happy ending can come about, Shirley must be rescued from an imperiled passenger plane by the resourceful Loop. Though Shirley Temple is inarguably the main drawing card in Bright Eyes, 9-year-old Jane Withers is equally terrific as the pint-sized "villainess"; indeed, some critics felt that Withers stole the show, and it was this as much as anything else that earned Withers her own starring series at 20th Century-Fox. ~ Hal Erickson, All Movie Guide