Leonard Elliott Movies

The alluring presence of doe-eyed horror icon Barbara Steele enlivens director Riccardo Freda's passable sequel to his own Horrible Dr. Hichcock. Steele returns as Cynthia, the troubled widow of a sadistic murderer and necrophiliac, who had once conspired with her lover to murder her husband before she could become the next of his tortured playthings. Unfortunately for her, you can't keep an evil man down, as proven by the sudden appearance of the doctor's vengeful ghost. All is not quite as it seems, however, as we learn that the menacing apparition is somehow linked to Steele's mysterious housekeeper. A workmanlike effort from the otherwise capable Freda (I Vampiri), this film plays like a less stylish retread of Diabolique. ~ Cavett Binion, All Movie Guide

Filmed on a B-picture budget, Buck Privates was Universal's biggest box-office hit of 1941, firmly securing the movie popularity of the studio's hot new team of Bud Abbott and Lou Costello. The story is fairly evenly divided between the antics of Bud and Lou-here cast as sidewalk salesmen Slicker Smith and Herbie Brown-and the romantic triangle involving Randolph Parker III (Lee Bowman), Judy Gray (Jane Frazee) and Bob Martin (Alan Curtis). Escaping the wrath of policeman Mike Collins (Nat Pendleton), Slicker and Herbie duck into a nearby movie theater, which unbeknownst to them has been converted into a US Army recruiting center. As the boys are reluctantly inducted into the Service, wealthy draftee Parker hopes to pull a few strings to avoid putting on a uniform, while Parker's former chauffeur Martin willingly answers his call to the Colors. Once ensconced in boot camp, Slicker and Herbie continually run afoul of their sergeant, who is none other than their old nemesis Mike the cop. Meanwhile, Parker and Martin vie for the attentions of USO hostess Judy, who'll have nothing to do with Parker until he proves his worth as a soldier. Poor Slicker and Herbie are shunted into the background as the romantic subplot is resolved, but at least our heroes get to steal the film's closing scene. It's hard to believe that anyone cared about the Parker-Martin-Judy triangle with Abbott & Costello on hand to perform their classic "dice game", "awkward squad", "turn on the radio" and "boxing ring" routines-not to mention their timeless verbal exchanges, the best of which finds Bud convincing Lou that if he marries an underage girl, she'll eventually be older than he (it plays better than it reads!) As a bonus, the film spotlights the Andrews Sisters, performing such top-ten tunes as "Apple Blossom Time" and "Boogie Woogie Bugle Boy". Even from the vantage point of six decades, with the WWII draft but a dim memory, it is easy to see why Buck Privates was such a huge success. ~ Hal Erickson, All Movie Guide

One of the last Yiddish-language films produced in the United States (and the first American film of German director Max Nosseck) Overture to Glory stars the great musical performer Moishe Oysher. A humble cantor, Oysher yearns to be an opera singer. He deserts his tiny village to pursue his dream, but when his voice breaks he sheepishly returns, resigned to attending but not singing at the Yom Kippur services. Upon his return, Oysher is informed that his son has died. Out of grief is wrought a miracle: Oysher's voice returns, more powerful than ever. After performing the Day of Atonement services, Oysher suddenly collapses, peacefully joining his son in death. If you wish to see the touching Overture to Glory, by all means seek out a decent print; many extant copies are so washed out that, not only are the English subtitles unreadable, but it's extremely difficult to tell one actor from another. ~ Hal Erickson, All Movie Guide