Jack Egan Movies

In this version of the oft-filmed stage play by James Montgomery, Nothing But the Truth stars Bob Hope as an up and coming young stockbroker working in Florida. He makes a bet with his coworkers that he can tell nothing but the absolute truth for 24 hours, and the other bettors are determined to keep tabs on him to make sure he doesn't falter. The rest of the action takes place aboard a yacht, where Hope's undiplomatic truthfulness gets him into hot water with a wealthy client, several other influential people, and his girl friend (Paulette Goddard). Hope's coworkers contrive to trick Hope into losing his wager, but African-American valet Willie Best foils their scheme. The picture ends with Hope having to explain his curious behavior for the past 24 hours without offending anyone (P.S.: he pulls it off). Nothing But the Truth was Paramount's third Bob Hope/Paulette Goddard costarring effort, all three based on past stage successes. The film lay unseen for years after its 1941 release due to legal tangles, but was finally made available again through the auspices of film historian Leonard Maltin in the early 1980s. ~ Hal Erickson, All Movie Guide

This is the celebrated Blondie episode that costars Rita Hayworth, who in 1940 was still just another Columbia contract actress. Hayworth plays an old flame of Dagwood Bumstead's (Arthur Lake), who moves into the Bumstead household when wife Blondie (Penny Singleton) advertises for a boarder. Blondie (Penny Singleton) tries to be civil when she meets Rita, but her true feelings are manifested in a superimposed montage of explosions and gunshots. Innocently caught in a compromising position with Hayworth at a local movie house, Dagwood is shown the door by the heartbroken Blondie. All misunderstandings are swept away by fadeout time in this fifth installment in Columbia's Blondie series. ~ Hal Erickson, All Movie Guide

The "Little Tough Guys" get involved in a circulation war between a paper with underhanded tactics and a paper being mismanaged by the woman who inherited it. The Tough Guys' leader is partial to the latter, since it took him in when his sheriff father was murdered. He helps draw readers away from the other paper and gets to avenge his father's death, since the man playing dirty is his father's killer. ~ Steve Huey, All Movie Guide

Who Killed Gail Preston? gets off to a rousing start with a nocturnal prison break which turns out to be the prelude for a nightclub musical number, masterminded by bandleader Traynor (Robert Paige). Gail Preston (Rita Hayworth), Traynor's vocalist, is much-despised by practically everyone, so it comes as no surprise when she's bumped off in the third reel. The most likely suspect is a weaselly hanger-on (Dwight Frye) who removes himself from consideration when he takes a header from a fourth-floor roof. This leaves such disreputable types as Marc Lawrence, Arthur Loft and John Gallaudet for detective Connolly (Gene Morgan) to choose from. Set almost entirely in Columbia's standard nightclub set, Who Killed Gail Preston? is a remake of 1934's The Crime of Helene Stanley, which took place at a movie studio. ~ Hal Erickson, All Movie Guide

Allegedly based on two factual works, Bouck White's The Book of Daniel Drew and Matthew Josephson's The Robber Barons, RKO's The Toast of New York is a largely fanciful account of the career of 1870s financier "Jubilee Jim" Fisk. As played by Edward Arnold in his usual "tycoon" mode, Fisk was a likable scoundrel who finagled his way into the upper rungs of Wall Street as much for fun as for profit. The film conveniently ignores Fisk's involvement with the infamous Tweed Ring, and skims over his complicity in 1869's "Black Friday," one of the most disastrous events in American economic history. We are also offered a sanitized version of Fisk's notorious mistress Josie Mansfield, who as played by Frances Farmer is an apple-cheeked lass who regards Fisk only as a loyal friend. Cary Grant is along for the ride as "Nick Boyd," a thinly disguised version of Fisk's actual partner in crime Ned Stokes. Too costly to post a profit, Toast of New York is nonetheless fine non-think entertainment, kept alive by a superb supporting cast ranging from Donald Meek as Daniel Drew and Clarence Kolb as Cornelius Vanderbilt to such bit players as Laurel & Hardy perennial James Finlayson, who plays the inventor of a self-tipping hat! ~ Hal Erickson, All Movie Guide

Working on the theory that the only thing funnier than Laurel and Hardy is two sets of Laurel and Hardys, Our Relations milks its central mistaken-identity situation for all it's worth. Stan Laurel and Oliver Hardy are two solid citizens, happily married and highly respected in their community. One morning, Hardy receives a letter from his mother, containing an old photo of himself and Laurel with their twin brothers, Alf Laurel and Bert Hardy. Mamma also reveals that Alf and Bert turned out to be "bad lads" and ran off to sea, and that reportedly they'd been hanged for taking part in a mutiny. "Isn't that calamitous!" remarks Hardy, who conspires with Laurel to hide the facts about their no-good brothers from their wives. Meanwhile, in another part of town, the S.S. Periwinkle pulls into port. Among the crew members are the selfsame Alf and Bert, who have decided to entrust their pal Fin (James Finlayson) with their month's salary. Fin has promised to invest the dough so that the boys will become millionaires "before you can say Jack Robinson". Alf and Bert are then summoned to the cabin of their captain (Sidney Toler), who orders them to pick up a valuable package for him, then meet him later at Denker's Beer Garden. While waiting for the captain at Denker's, Alf and Bert are captivated by a pair of waterfront floozies, Alice (Iris Adrian) and Lily (Lona Andre). Talked into buying the girls a huge meal for which they haven't the necessary funds, Alf and Bert decide to go back to Fin and reclaim their money, leaving the contents of the captain's package-a valuable pearl ring-with tough waiter Joe Groagan (Alan Hale) as security. Later, Laurel and Hardy take their wives Betty (Betty Healy) and Daphne (Daphne Pollard) to lunch-and, inevitably, they end up at Denker's Beer Garden, where the equally inevitable mix-ups begin to occur. Things snowball from bad to worse before both sets of twins, an angry captain, a disgruntled Fin, the wives, the floozies, a genial drunk (Arthur Housman) and a brace of smooth gangsters (Ralf Harolde and Noel Madison) all converge at the upscale Pirate Club. Several slapstick complications later, Laurel and Hardy are captured by the gangsters, who threaten to dump the boys in the river with their feet encased in cement if they don't cough up the pearl ring. Alf and Bert come to the rescue, and all is well, at least until the film's boffo punchline. Based on W.W. Jacobs' short story The Money Box, Our Relations is perhaps the most plot-heavy of Laurel and Hardy's features for Hal Roach Studios. It is also one of their funniest, as well as their most lavishly produced. The film was officially listed as "A Stan Laurel Production"-as if Laurel hadn't been the prime creative force behind all of the team's previous films. ~ Hal Erickson, All Movie Guide

Blonde Broadway dancer Marie Saxon came to the screen in 1929 courtesy of Columbia Pictures, who starred her opposite popular stage emcee Jack Egan in Broadway Hoofer, a rather leaden musical concoction that played mostly in the hinterlands. Saxon appeared as Broadway dancing star Adele Dorey who, overworked and exhausted, suddenly ups and leaves New York in favor of a country village. But when promoter Bobby Lewis (Egan) of the barnstorming Gay Girlies Burlesque Company arrives in town, he picks an incognito Adele among all the pretty village girls to star in his new show. On a lark, Adele introduces her maid Jane (Louise Fazenda) as her mother and accepts a contract. When Adele's identity is finally revealed, the slumming star apologizes for her deception by offering Bobby a Broadway job. Denouncing Irene for her duplicity at first , Bobby, who has fallen in love, finally agrees to the gig and they are reunited. Filmed back-to-back with the equally pedestrian Broadway Scandals, which also starred Egan, Broadway Hoofer completely wasted the redoubtable Miss Saxon in clumsily staged numbers such as Hawaiian Love Song, a would-be show-stopper featuring rather zoftig-looking chorus girls in grass skirts. Marie took the consequences of this minor disaster and quickly returned to the Great White Way. ~ Hans J. Wollstein, All Movie Guide

In this comedy, a clerk suffers an inferiority complex after he is fired. He is then mistaken for the boss by an author's daughter who offers her his newest manuscript. The clerk likes impersonating his former boss and so attends a publishing convention where he heavily promotes the book. The book becomes quite the hit, and the clerk not only gets his job back, he also gets the daughter. ~ Sandra Brennan, All Movie Guide

Comic Chester Conklin stars in this sparkling comedy directed by Allan Dwan. John Sloval (Conklin), a New York City transit security officer, would love to see his daughter Sophie (Alice White) marry Philip Hurd (Sam Hardy), who works at a Coney Island concession stand. But Sophie is in love with Bill Hedges (Jack Egan), the son of an upstate New York dairy farmer. Sloval makes a deal for Philip to marry Sophie in exchange for a percentage of Philip's Coney Island concession-stand take. But then Sloval falls off a subway platform and is nearly killed. Sloval's money-making scheme is forgotten as a local newspaper and a political candidate make hay of Sloval's plight in order to push for subway reform. By the time Sloval realizes that he is being exploited by the newspaper for political ends, Sophie and Bill have married. Dejected, Sloval goes to visit them, hoping that they will forgive him. ~ Paul Brenner, All Movie Guide

A nightclub dancer is torn between two men -- a tough detective and an unscrupulous gangster -- in this rather lurid silent melodrama starring one of the icons of the era, "shimmy" dancer Gilda Gray. Miss Gray's kid brother Andy (Jack Egan) has fallen in with gangster Sam Roberts (Charles Byer) and the latter is shot and killed after an altercation in her dressing-room. Although an obvious case of self-defense, Andy is accused of murder by the dead gangster's moll (Mona Palma) and is forced to stow away on a liner bound for South America. Detective Tom Westcott (Tom Moore), meanwhile, tricks the moll into telling the truth and the kid is cleared of all charges. Despite her popularity on the stage and in the first screen version of Aloma of the South Seas (1926), Gilda Gray's fame was fleeting and her screen career was over by the advent of sound. Cabaret, which of course bore no relation to the later musical, was directed by one of the pioneers of the industry, Robert G. Vignola, whose career had begun with the old Kalem company back in 1908. ~ Hans J. Wollstein, All Movie Guide