Jack Durant Movies

James Hadley Chase's 1939 bestseller reached the screen for the first time -- which a lot of critics of the book would have said was one time too many -- in 1948, in somewhat bowdlerized form, under the aegis of Renown Pictures and screenwriter St. John Legh Clowes, making his sole bow as director. Filmed in England but set in New York, No Orchids For Miss Blandish tells of a sheltered heiress (Linden Travers) who is abducted on her wedding night by a trio of cheap hoods, in what starts out as a jewel robbery and turns into a kidnapping/murder when one of them (Richard Nielson) kills the bridegroom. More mayhem ensues as the three kidnappers soon end up dead, and Miss Blandish falls into the hands of the Grisson mob, led by Slim Grisson (Jack LaRue), who are pros at what they do, throwing their weight around the underworld at will and not too afraid of the police, either. Slim Grisson isn't really better than any of those around him, but he's smart enough to restrain his worst impulses, which makes him start to look very good to Miss Blandish, who finds herself strangely attracted to him, as the first real man she's ever seen, and also a way out of the sheltered existence she's known all of her life. He's as amazed as anyone around him -- including his own mother (Lili Molnar), who runs the gang in tandem with him -- that he doesn't want to ransom Miss Blandish, or plan on killing her because she knows too much; or that she'll testify on his behalf, if necessary, that the one killing she did see by him was, in fact, a matter of self-defense. They plan to run off together, but neither Grisson's mother nor the rest of the gang can see parting with a potential million dollar ransom, or leaving a witness alive -- even if it means killing Slim Grisson to get to her. And when a nosy reporter named Fenner (Hugh McDermott) starts putting the police on the trail of the gang, Slim himself isn't above committing a few more murders to bury any witnesses. The movie was so violent and amoral, that it appalled critics and social observers on both sides of the Atlantic, whose agonizing over its content actually helped turn the picture into a bigger hit than it might otherwise have been. This was especially true in America, where the movie enjoyed a five week run in one of New York's bigger movie palaces to sell-out business, though it was edited considerably and re-cut twice for US release (the second time, a couple of years later, as Black Dice). Robert Aldrich filmed the same story as The Grissom Gang (1971), with Kim Darby, Scott Wilson, and Irene Dailey. ~ Bruce Eder, All Movie Guide

Orson Welles had planned to produce, direct and star in RKO's Journey Into Fear, but prior commitments compelled him to vacate the director's chair in favor of Norman Foster. Joseph Cotten, who starred as an American gunnery engineer up to his armpits in international intrigue, adapted the screenplay from the novel by Eric Ambler. Targeted for extermination by the Gestapo, Cotten secretly books passage on a steamer bound from Turkey to Batumi. His fellow passengers include dancer Dolores Del Rio and her gigolo partner Jack Durant; talkative Frenchwoman Agnes Moorehead and her browbeaten husband Frank Readick; German archaeologist Eustace Wyatt; and a secretive, obese, thick-spectacled gent, played by Orson Welles' business partner Jack Moss. From the outset, it is no secret that Moss is a Nazi assassin. The question: who are his contacts, and how long will it be before Cotten is forced into a showdown? The very complex storyline was made even more so by RKO's decision to pare the film down to 69 minutes; several resultant plot gaps had to be bridged by an ongoing offscreen narration, presented in the form of a letter written by Cotten to his worried wife Ruth Warrick. As one can see, virtually the entire roster of Welles' Mercury Theatre troupe is involved in Journey into Fear. Welles himself plays colorful Turkish police officer Colonel Haki, while Everett Sloane, Hans Conried and Edgar Barrier essay significant smaller roles. Director Norman Foster so slavishly imitates the patented Wellesian visual style (following Welles' pre-production "storyboards" dictating choice of camera angle, lighting etc.) that many historians have assumed that Welles himself directed the picture. Remade for Canadian TV in 1975. ~ Hal Erickson, All Movie Guide

Strictly for Al Jolson's most fervent fans, The Singing Kid casts Jolie as neurotic Broadway star Al Jackson. Facing professional ruin when he loses his voice, Al heads to the country to regain his vocal timbre and to get his head back together. While recuperating, he falls in love with farm girl Ruth Haines (Beverly Roberts), the pretty aunt of precocious little Sybil Haines (Sybil Jason). The kid bids fair to steal the picture, but Big Al isn't about to let that happen! Much as it must have pained him, Jolson shares the spotlight with such specialty performers as Wini Shaw, Cab Calloway, the Yacht Club Boys and the knockabout comedy team of Mitchell and Durant. The E.Y. Harburg-Harold Arlen score includes "I Want to Sing a Mammy Song" and "I Love to Singa," which later served as the basis of an amusing Merrie Melodies cartoon. ~ Hal Erickson, All Movie Guide

It is said that former gagman Clyde Bruckman spent most of his directing days sitting in his canvas chair quietly nursing a hangover. Well, someone must have directed Spring Tonic, and if it was Bruckman (as credited), he certainly sobered up long enough to deliver the goods. Claire Trevor walks out on her fiance Lew Ayres in search of adventure. She gets more than she bargained for when she stumbles upon a gang of bootleggers. Ayres comes to the rescue with the help of a circus troupe. The film was based on Man Eating Tiger, an obscure play by Ben Hecht and Rose Caylor. ~ Hal Erickson, All Movie Guide

In this romantic comedy, a chanteuse singing in a trashy Shanghai bar finds hope for escape when a rakish sailor comes to town and falls in love with her. They are happy during his brief layover, but then his ship departs and he must return Stateside. The sailor doesn't make a lot of money and fears that he could never adequately support his new love, and so writes her a letter explaining that they can never meet again. He sends the letter, but it is intercepted by two practical jokers who write a new letter telling the singer how much the sailor loves her. Upon receiving the love letter, the hapless lady sets sail for Los Angeles. Unfortunately, her lover refuses to acknowledge her. Now the two jokers try to do everything they can to bring the two back together. Songs include: "Here's the Key to My Heart" (Richard Whiting, Sidney Clare), "She Learned About Sailors" (Clare, Whiting) and "If I Were Adam and You Were Eve" (James J. Hanley). ~ Sandra Brennan, All Movie Guide