Lillian Elliott Movies

Five of Laurel and Hardy's best features from the silent film era are compiled in this collection by Robert Youngson. Included are From Soup To Nuts, Wrong Again, The Finishing Touch, and iberty. On hand are legendary comic foils like James Findlayson and Edgar Kennedy, both masters of the "slow burn" when showing their disapproval. Watch for Margaret Dumont, famous for her characterization as the flustered dowager in many Marx Brothers films, in the pie-fight scene. ~ Dan Pavlides, All Movie Guide

Paramount's "B" pictures of the early 1940s were generally more interesting than their star-studded "A"s, as witness Women without Names. Ellen Drew and Robert Paige star as newlyweds Joyce and Fred MacNeil, whose honeymoon comes to an abrupt and unsatisfying halt when Fred is accused of murder. Railroaded into prison through the efforts of politically ambitious assistant DA Marlin (John Miljan), Fred awaits his doom on Death Row, while Joyce works overtime on the outside to clear her husband's name. Fred fate rests in the hands of Peggy Athens (Judith Barrett), the spiteful girl friend of Joyce's ex-husband, and the only person who knows the identity of the real murderer. Women Without Names was based on a play by Ernest Booth. ~ Hal Erickson, All Movie Guide

Monogram's Laughing at Danger finds page-boy Frankie Kelly (Frankie Darro) trying to solve a murder at a fancy beauty salon. It so happens that the establishment is used for blackmail purposes by a gang of crooks who eavesdrop on their gossiping clientele by means of hidden microphones. When the cops prove unable to find out who killed the owner of the salon, Kelly takes over, assistant by timid but resourceful janitor Jefferson (Mantan Moreland). The film's romantic angle is handled by opera star George Houston as a police lieutenant and perennial starlet Joy Hodges as a cosmetician. Darro and Moreland work together so well that it's a shame the film's script doesn't come up to their performances. ~ Hal Erickson, All Movie Guide

In this B movie actioner, a plucky female cub reporter is determined to get her boss a front page scoop and so finagles a way to spend a few days with two drivers in the title squad. While with them she finds herself reporting a huge fire at a chemical plant. She gets herself in real danger when she begins looking into a disaster-plagued tunnel construction site and finds that a racketeer is in cahoots with a crooked contractor. ~ Sandra Brennan, All Movie Guide

Brothers Terry and Joe Murphy (Dick Purcell, Charles Quigley) are the Heroes in Blue in this Monogram actioner. Actually, Terry, a policeman, is the only one "in blue"; Joe washes out of the police training program early on, opting for a dangerous association with a band of gangsters. Poor old Pop Murphy (Frank Sheridan), an ex-cop turned night watchman, tries to extricate Joe from his dilemma, with disastrous results. It's up to Terry to round up the crooks during the film's pulse-pounding racetrack finale. It's best to ignore some of the plot absurdities in Heroes in Blue, including a murder that occurs in full view of a crowd, but reaps only a single solitary eyewitness. ~ Hal Erickson, All Movie Guide

Irish Luck was one of a handful of Monogram actioners starring Frankie Darro as a crimesolving bellboy. The son of plainclothes detective, Buzzy O'Brien (Darro) is naturally suspicious of some sinister activities transpiring at the hotel where he works. When a murder occurs, Buzzy offers his assistance to flustered flatfoot Lanahan (Dick Purcell)-and, surprise of surprises, he solves the case. Mantan Moreland is a riot as a timorous bellhop who keeps stumbling upon dead bodies. Irish Luck was reworked in 1944 as The Adventures of Kitty O'Day. ~ Hal Erickson, All Movie Guide

Universal ran into censorship problems with this farfetched but well-acted courtroom drama directed by silent screen veteran Edward Sloman. When corrupt tycoon Brandon Williams (Samuel S. Hinds) is found murdered, the obvious suspect is young William Sheldon (Larry Blake), who had publicly feuded with the victim. The real killer, however, is Williams' ghostwriter Walter Russell (Kent Taylor), an embittered newspaperman who finds himself on the jury hearing Sheldon's case. Confident at first that Walter will vote for an acquittal, New York reporter Linda Ware (Fay Wray) is not so sure after stumbling over the truth of the killing. Using a bit of subterfuge, the girl manages to convince Walter to confess in the proverbial nick of time, thus saving Sheldon from the gas chamber. ~ Hans J. Wollstein, All Movie Guide

Frequently and misleadingly advertised as a W.C. Fields vehicle, Mrs. Wiggs of the Cabbage Patch confines the Great Man's appearance to the final two reels. The rest of the picture is a ploddingly paced adaptation of the hoary old Anne Hagan Rice novel about how wonderful it is to be poor. In a rare movie appearance, the great stage star Pauline Lord plays Mrs. Wiggs, the impecunious but ever-optimistic matriarch of a large, fatherless brood. Though creditors constantly hound Mrs. Wiggs, she remains firmly confident that all family problems will be resolved when her long-missing husband (Donald Meek) returns from his unexplained odyssey. It's quite a chore for our heroine to put on a happy face, especially after the death of the sickliest Wiggs child (George Breakstone), but she does -- and miracle of miracles, her faith in the elusive Mr. Wiggs turns out to be well-founded (though not intentionally so). W.C. Fields is cast as touring actor Mr. Stubbins the "mail-order husband" of Mrs Wiggs' spinsterish friend Miss Hazy (ZaSu Pitts). Once Fields shows up on screen, demanding a gourmet meal from poor Miss Hazy (who's never cooked anything in her life!) all the film's shortcomings and maudlin passages can be forgiven. W.C.'s best line: "The theatre was so packed, the audience couldn't applaud this way?" (claps sideways) "?They had to applaud this way." (claps up and down). Previously filmed in 1914 and 1919, Mrs.Wiggs of the Cabbage Patch was remade with Fay Bainter in 1942. ~ Hal Erickson, All Movie Guide

To further her husband's political career, wealthy Mrs. Clark (Lillian Elliot) throws a lavish party in her home for the poor children of the community. Among the invitees are the Our Gang kids, including Matthew "Stymie" Beard, who of late has been getting into trouble because of his tall tales. Thus, no one believes Stymie when he claims that a pair of midgets, disguised as infants, have invaded the party for the purpose of stealing everybody's wallets and jewelry. As it turns out, however, Stymie is telling the truth for the first time in his life. Originally released on February 11, 1932, "Free Eats" benefits from a strong adult supporting cast, including Billy Gilbert and Paul Fix (the latter in female drag!) as a pair of crooks. The film is best remembered, however, as the "Our Gang" debut of 3-year-old George "Spanky" McFarland, who delivers a rambling, impromptu monologue about monkeys, swings, and airplanes --- hardly a high point in American comedy, but enchanting nonetheless. ~ Hal Erickson, All Movie Guide

In this romantic drama, a strait-laced preacher creates controversy when he marries a seductive trapeze artist . The two meet after the swinger is injured during a performance and taken to his home to recover. Love blossoms while she heals and they surreptitiously marry. When the minister's snooty parishioners find out, they are shocked evict him from their chapel. When he is unsuccessful at finding other work, his wife selflessly returns to the circus so he can have his congregation back. This leads to the story's upbeat conclusion, but not before some exciting aerial antics ensue. ~ Sandra Brennan, All Movie Guide

In this comedy, a lady-bootlegger does her 90 days in jail, gets released and becomes the secretary for a prominent millionaire. The magnate falls madly in love with his new secretary and they marry. Unfortunately, she has not revealed her shady past to him, and when friends from her smuggling days suddenly show up as employees, mayhem ensues. The marriage almost ends when she gets illicitly tipsy one night. Fortunately, it all works out in the end and they live happily henceforth. ~ Sandra Brennan, All Movie Guide

In this romance, Mamie, a humble factory worker, falls in love with a cocky, young boxer, Bill "Cyclone" Hickey. To help his flagging career, the young woman hires sportswriter Johnny Trump, to manage him. Unfortunately, Cyclone has attitude problems and Trump leaves him. The fighter's career soon bottoms out. Fortunately, they are able to convince Trump to return and the Cyclone's winning streak is restored. Romance and happiness ensues. ~ Sandra Brennan, All Movie Guide

Having scored big-time box office with his first Biblical epic, The Ten Commandments (1923), Cecil B. DeMille hoped to top this success with his 1927 The King of Kings. Inasmuch as he was now dealing with the life of Christ, DeMille had to be careful to serve up equal amounts of showmanship and reverence. The first creative challenge: how to "introduce" Christ in a tasteful manner? The answer: as a blind child is cured through Jesus' intervention, DeMille cuts to the child's point-of-view, slowly fading in on the kindly countenance of H.B. Warner as the Son of Man. Still, DeMille remained DeMille, especially in his handling of the character of Mary Magdalene (Jacqueline Logan). No longer a tattered streetwalker, Mary Magdalene is now a glamorous courtesan, replete with legions of gorgeous slave girls (one of whom is "bubble dancer" Sally Rand) and dressed in revealing Hollywood-style gowns. In fact, the film opens on this character, as she ruminates over the defection of her favorite customer, Judas Iscariot (Joseph Schildkraut), who is spending far too much time with Jesus of Nazareth. Upon visiting Jesus herself, she immediately repents, casting off all her prior sins. Once again, the efficacy of the Cecil B. DeMille formula is proven: redemption has no dramatic value unless the film shows viewers why the sinner needs to be redeemed. Once he's gotten his box-office considerations out of the way, DeMille adheres faithfully to the particulars of Jesus' life, betrayal, trial, Crucifixion, and Resurrection. (Again, however, the director improves a bit upon his source material: the storm that follows the Crucifixion is of the same spectacular dimensions as the parting of the Red Sea in Ten Commandments, while the Resurrection is filmed in vibrant Technicolor). To back up the authenticity of his images, DeMille -- with an assist from scenarist Jeannie Macpherson -- utilizes Scriptural quotes in his subtitles. And to avoid any untoward publicity while filming, DeMille required all of his actors to sign legal documents preventing them from indulging in any sort of "sinful" activity; this meant that poor old H.B. Warner had to steer clear of alcoholic beverages for nearly a year, though he more than made up for lost time after his contract ran out. Prepared to mercilessly lambaste The King of Kings, DeMille's critics were disarmed by his reverent, tasteful approach to the subject. Years after the film's release, a specially prepared 60-minute version of the 18-reel King of Kings was making the rounds of religious groups, church basements, and Easter-weekend telecasts. The film was remade in 1961 by producer Samuel Bronston and director Nicholas Ray, with Jeffrey Hunter as Jesus. ~ Hal Erickson, All Movie Guide