William "Wild Bill" Elliott Movies

On the heels of his masterpiece, Intolerance, which dramatized the futility of war born out of prejudice, director D.W. Griffith shifted gears for this film. Intolerance had proven a financial disaster for Griffith, so he signed with producer Adolph Zukor to release his next film. He came upon the subject matter on a trip to England to promote Intolerance. The British government, desperately looking to America for help in fighting the Germans in the first World War, persuaded Griffith to make a propaganda picture. Set in France, it's the portrait of a village overrun by the Germans during the hostilities. Griffith begins the story in 1912 with a slow developing romance between The Boy, Douglas Gordon Hamilton (Robert Harron) and The Girl, Marie Stephenson (Lillian Gish). A street singer known as The Disturber (Dorothy Gish) tries to come between them, but she settles for her own romance with Monsieur Cuckoo (Robert Anderson). In the summer of 1914, The Boy and M. Cuckoo answer the call to arms, forcing the postponement of The Boy and Girl's wedding. The film's second half cuts back and forth between the battlefield and the home front (which in this case are separated by only a few miles). By the time the film was completed, the United States had already entered the war, and over the years its extreme portrayal of German soldiers has been trimmed, the first time at the request of the wife of President Woodrow Wilson. In fact, Griffith included shots of American troops helping out in the story's final battle and then marching off to return home. The version viewed for this review, running 115 minutes, included a brief prologue with footage of Griffith touring the battlefields in France, where some documentary footage was shot, though most of the film was made in Southern California, and the director meeting with British prime minister David Lloyd George. Also notable is the appearance in small parts of future filmmaker Erich Von Stroheim as a German soldier, future character actor Ben Alexander as The Boy's youngest brother, and future entertainer Noël Coward as a young villager pushing a wheelbarrow. ~ Tom Wiener, All Movie Guide

Setting the standard for his later light-hearted biopics The Private Life of Henry VIII and Rembrandt, producer-director Alexander Korda steadfastly refuses to take any of The Private Life of Helen of Troy seriously. Maria Corda, wife of the director, plays the title character as a fetchingly underdressed coquette, oblivious to all the political turmoil she's causing when she allows the handsome Paris (Ricardo Cortez) to kidnap her. Meanwhile, poor King Menelaus (Lewis Stone), Helen's husband, stands by in stoic silence, just as he's done on previous occasions when his wife succumbed to the charms of various sexy suitors (one of whom is played by future cowboy star "Wild Bill" Elliot). Finally galvanized into action, Menelaus reclaims his bride, who seems none the worse for wear for her experiences. Just in case the audience missed the fact that the film isn't meant to be taken seriously, the producers have inserted a number of wisecracking subtitles, juxtaposing stilted "ancient" prose with up-to-date slang. And during the film's New York engagement, the scene in which the Trojan Horse appears was accompanied by an orchestral rendition of Horses, Horses, Horses! The Private Life of Helen of Troy was supposed to have been based on a novel by John Erskine, but don't you believe it. ~ Hal Erickson, All Movie Guide

Filmed back-to-back with the similar The Broadway Hoofer, Broadway Scandals marked the first musical production from then-Poverty Row company Columbia Pictures and the feature film debut of popular Broadway emcee Jack Egan. Egan plays Ted Howard, a vaudevillian left stranded in a tank town. A local girl, Mary (Sally O'Neil), proposes to finance a new act with her savings and the team succeeds in a minor way until Ted is discovered by Broadway femme fatale Valeska (Carmel Myers). Not wishing to stand in her partner's way, Mary nobly resigns from the act and instead accepts a minor role in the show. She proves a sensation on opening night, however, and a jealous Valeska demands her ousted. But Ted, who is in love with Mary, reorganizes their old act and they begin a new life together as man and wife. Despite such songs as "Can You Read in My Eyes", by Sam Coslow, "Kickin' the Blues Away", by David Franklin, and the inimitable "Does Elephants Love Peanuts?", Broadway Scandals failed to make much of an impact and played mainly in the hinterlands. ~ Hans J. Wollstein, All Movie Guide

Broadway star Marilyn Miller's second starring film was an adaptation of her 1925 stage hit Sunny. Flashing her celebrated dazzling smile at every possible occasion, Miller is cast as a circus bareback rider, in love with wealthy Tom Warren (Lawrence Gray). Naturally, Tom's aristocratic family are dead set against the romance and do everything they can to degrade and our poor heroine. But Sunny prevails in the end, triumphantly marching to the altar arm and arm with her beloved Tom. The Oscar Hammerstein II-Jerome Kern score includes such lasting favorites as Who (Stole My Heart Away)? Sunny was remade by RKO in 1940 as a vehicle for Anna Neagle. ~ Hal Erickson, All Movie Guide

Never one to hide his talent under a bushel basket, director Rouben Mamoulien proudly proclaimed that, while there were ten killings in his 1931 gangster drama City Streets, the audience never sees any of them. This was not the only innovation in this fascinating early talkie, in which straight-arrow movie hero Gary Cooper is cast as a racketeer known only as The Kid. He has chosen a life of crime out of love for Nan (Sylvia Sidney), the daughter of mob henchman Pop Cooley (Guy Kibbee). Eventually railroaded into prison by her crooked cohorts, Nan implores The Kid to give up the rackets, but he refuses. Things go downhill very rapidly after that, culminating with The Kid and Nan being taken "for a ride" by rival thugs. Cast in a role originally intended for Clara Bow, Sylvia Sidney does a magnificent job and was soon typecast as a downtrodden Depression victim, born with two strikes against her. Conversely, Gary Cooper never again played anything quite like "The Kid." ~ Hal Erickson, All Movie Guide

A rather bleak comedy-drama from Frank Capra, Platinum Blonde basically starts where Capra's later and much more buoyant It Happened One Night (1934) ends: the marriage between a brash newspaperman and a society dame. But where the latter comedy was enhanced by the director's patented optimism, Platinum Blonde, produced at the height of the Great Depression, expresses no faith in a common ground between the classes. Star reporter Stew Smith (Robert Williams) falls in love with the sister (Jean Harlow) of his latest victim (Donald Dillaway). They marry despite the misgivings of Ann Schuyler's blue-nosed mother (Louise Closser Hale) and Stew's cynical colleagues ("Ann Schuyler's in the blue book. You're not even in the phone book!"). Unable to stand life in a gilded cage for long, Stew upsets the Schuyler mansion by inviting his friends to a wild and woolly party. Returning home unexpected in the middle of the drunken revelry, Ann lays down the law and Stew bolts -- right into the arms of girl reporter Gallagher (Loretta Young), whom he has loved all along without realizing it. Jean Harlow is surprisingly realistic as the callous society girl but Robert Williams' wisecracking reporter comes across as rather grating. An up-and-coming comic lead, Williams died after an operation for appendicitis on November 3, 1931, less than a month after Platinum Blonde had premiered to mostly positive reviews. Ironically, Loretta Young, who received top billing, had demanded to star in this film when it was still known as "Gallagher," the name of her character. Harlow, needless to stay, stole the limelight completely and Capra changed the title much to Young's chagrin. ~ Hans J. Wollstein, All Movie Guide

In one of his first starring roles, George Raft plays Joe Anton, a tough but basically decent speakeasy owner who falls in love with Park Avenue socialite Miss Healy (Constance Cummings). Hoping to come up to the girl's social level, Joe starts taking lessons in speech and behavior from haughty dowager Mrs. Jellyman (Alison Skipworth). What he doesn't know is that Miss Healy pays attention to him only because he's living in the posh apartment where her family had resided before the Stock Market crash. Even so, the girl genuine falls in love with Joe when it appears as though he's about to desert her in favor of his ex-flame Iris Dawn (Wynne Gibson). A dreary retread of stock movie-drama themes, Night After Night would be utterly forgotten today were it not for the presence of Mae West, making her film debut. A scant few seconds after her first appearance, the generously bejeweled West is accosted by a hatcheck girl who coos "Goodness, what lovely diamonds." Swivelling those famous hips, La West replies expansively "Goodness had nothing to do with it, dearie." Commenting years later on Night After Night, George Raft, who suggested that Mae West be cast in the film, ruefully recalled "She stole everything but the cameras." ~ Hal Erickson, All Movie Guide

A musical remake of The Marriage Circle (1924), One Hour with You stars Maurice Chevalier as a Parisian doctor and Jeanette MacDonald as his loving wife. Chevalier is scrupulously faithful, much to the chagrin of his lovely female patients. But when MacDonald's best friend Genevieve Tobin insists upon being treated by Dr. Chevalier, it looks to many of those concerned that Tobin may succeed where the other willing ladies failed. The misunderstandings and reconciliations of the plotline are playfully staged with deliberate artificiality by director Ernst Lubitsch: Characters speak in rhymed couplets, Parisian gendarmes issue orders to their minions to the beat of a ticking clock, and Chevalier regularly talks directly to the audience. One Hour With You is a tuneful confection which is just as refreshing today as it was sixty years ago. ~ Hal Erickson, All Movie Guide

This imitation-Lubitsch romantic comedy stars William Powell as an elegant jewel thief plying his trade in Vienna. Powell's latest victim is bored baroness Kay Francis, who is much taken by the gentleman crook's handsomeness and poise. Since Francis is casting about for a new lover and newer thrills, Powell meets her qualifications, criminal or no. But the lady's husband (Henry Kolker) is not so easily charmed, and he sets about to bring Powell to justice. Jewel Robbery was based on a play by Ladislas Fodor, previously filmed in an Austrian version. ~ Hal Erickson, All Movie Guide

Romance throws a spanner into the works of a con game in this light drama. Donald Free (William Powell) is a private detective whose career in on the skids. Dan Hogan (Arthur Holh) is another, less scrupulous shamus who persuades Free to help him frame Janet Reynolds (Margaret Lindsay), a wealthy woman with a taste for gambling living in Paris. Free goes along with the scheme, but things become complicated when he begins falling in love with her. ~ Mark Deming, All Movie Guide

In this melodrama, the wife of a wealthy man abruptly leaves him and sets sail for Cuba leaving him to hire a gumshoe to find out why. The girl left because she was being blackmailed for $50,000 by her former ex-husband who claims that they were never legally divorced. Before heading to Cuba for a hasty divorce, the distraught wife tells all to her sister-in-law. Meanwhile the detective is aboard the same ship as the wife and as he gets to know her cannot help but fall in love with her. The detective doesn't realize that her ex-husband is also on board, but she does and is happy about it because she wants to see if she can get her ex (not a US citizen) barred from reentry. Back at home, the sister-in-law tells her increasingly suspicious brother the truth about the situation and he immediately flies to Cuba to get there just in time for the exciting conclusion. ~ Sandra Brennan, All Movie Guide

Actually this film should have been titled "Here Comes Jimmy Cagney Again, so Duck!". James Cagney is a bantam-cock sailor who runs up against chief petty officer Pat O'Brien. Seems that Cagney and O'Brien had come to blows early in the film when O'Brien stole Cagney's date at a dance hall. O'Brien resents both Cagney and Cagney's attentions towards O'Brien's sister (Gloria Stuart). The animosity intensifies when O'Brien court-martials Cagney for going AWOL. But all passions are spent when Cagney heroically rescues his shipmates from a raging fire. Here Comes the Navy proved to Jimmy Cagney's fans that he could still deliver the goods even with the tighter movie censorship imposed in 1934. ~ Hal Erickson, All Movie Guide