Fern Emmett Movies

Lily Becker (Hope Hampton) is the musically talented daughter whose mother forces her into a marriage to the son of a wealthy man. Mistreated by the callous husband, she flees to New York to make it in the music business. She gives birth to a child and attempts suicide when she nearly starves to death for lack of work. A sympathetic young songwriter who has been down the same road takes her in and offers her the benefit of his musical experience. Lily becomes a successful opera singer the very night her husband perishes in a train wreck. She also must overcome the tragic death of her beloved baby. Lily overcomes her misfortunes to become a successful singer. After her husband dies, she is free to pursue romance with the young maestro in this routine melodrama. ~ Dan Pavlides, All Movie Guide

The fourth of eight westerns made by diminutive Bob Steele for poverty row's Tiffany Productions, The Land of Missing Men is a sturdy little oater which contains a hair-rising scene where Steele and sidekick Al St. John enter a saloon littered with corpses! The remainder of the film is not quite as gruesome, but is instead a lively affair about a cowboy falsely accused of terrorizing a ranching community. Steele, of course, is innocent of all charges but has to prove it the hard way, by catching the real villain, the town's newly elected sheriff (Edward Dunn). The creepy saloon scene remains the film's center piece, however, what with a tinny player piano droning out the tune "After the Ball" over and over as Steele and St. John examine the bodies and the one man left alive (Emilio Fernandez). The scene precedes a similar but much more famous sequence in John Wayne's Randy Rides Alone (1934) but is actually better staged here. Real-life outlaw Al Jennings plays a retiring lawman in this film, but the real surprise is the appearance of Mexican-born Fernandez, who later became one his country's best known directors. ~ Hans J. Wollstein, All Movie Guide

Produced by Trem Carr, this enjoyable B-Western featured the strapping Tom Tyler, a cowboy performer who historically worked well with children. The child in this case was freckled Andy Shuford, a tough little boy rider. Little orphaned Sandy is adopted by a reformed outlaw (Tyler, of course), but when the townsfolk discover Tyler's true identity they conspire to take the tyke away from him. The express office is robbed and Tyler is the obvious suspect. He is provided with a seemingly airtight alibi by the kid, who swears to have seen two of Tyler's enemies commit the crime. After the real culprits have been apprehended, young Sandy confesses that he never really saw anything but only "guessed correctly." Although based on an original screenplay by Wellyn Totman, Rider of the Plains bore a certain resemblance to the same year's The Sheriff's Secret, a Robert J. Horner misfire starring Jack Perrin. ~ Hans J. Wollstein, All Movie Guide

In this western, a cowboy finds himself entangled in a saloon incident. He then saves a woman from outlaws, who later turn out to be fake. The hero's father, a senator, then sends him to accompany Roosevelt out West. There the two encounter the hapless girl. This time they save her from real villains. ~ Sandra Brennan, All Movie Guide

Ten Nights In a Bar-room is as corny and hackneyed as its title, but that doesn't mean it isn't fun to watch. Based on the warhorse cautionary stage play by Edwin Waugh (previously filmed six times during the silent era), the story concerns Joe Morgan (William Farnum), a highly respected business executive and family man who throws his life away by consuming mass quantities of booze. His sweet little daughter Mary Morgan (Patty Lou Lynd) wanders into the saloon, tugs her tosspot father by his tattered sleeve and whines "Daddy, won't you come home with me now?" This proves to be the first step (of 12, perhaps?) towards Morgan's redemption, but first he has a score to settle with Simon Slade (Tom Santschi), the double-dyed villain who dragged him to degragadation. The film's highlight is a knock-down, drag-out fistfight between William Farnum and Tom Santschi, in emulation of their famous battle in 1914's The Spoilers. Ten Nights In a Bar-Room was distributed through the auspices of the Women's Christian Temperance Union, who were blissfully unaware that audiences were more prone to laugh at the antiquated production rather than renounce Demon Rum. ~ Hal Erickson, All Movie Guide

A wagon train sequence and a stampede of buffaloes -- both courtesy of stock footage -- remain the most interesting features of this otherwise stagy early talkie Western from low-budget entrepreneur John Freuler's Monarch Productions. Tom Tyler stars as Tennessee Matthews, a renowned buffalo hunter, who, although in love with settler Virginia Hawkins (Betty Mack), chooses the solitude of his mountains over guiding her wagon train safely through Indian country. Tennessee changes his mind when the new trail guide, O'Hara (Al Bridge), seems to be purposefully leading the train right into an Indian ambush. As it turns out, O'Hara, who is courting a reluctant Virginia, has been robbing several wagon trains with the assistance of the Indians in general and Lola (Mildred Rogers), a fiery squaw, in particular. The latter, who mistakenly believes Virginia to be encouraging O'Hara's company, has her rival kidnapped during the Indian raid, but the white girl is saved by Tennessee, who not only heads off a buffalo stampede, but arrives in the nick of time with the cavalry. ~ Hans J. Wollstein, All Movie Guide

Bloodsucking winged creatures who may take human shape appear to have returned after centuries of dormancy to the middle-European municipality of Kleinschloss in this atmospheric, low-budget thriller from small-scale Majestic Pictures, and the burgomaster (Lionel Belmore) demands answers. With victims scattered everywhere, all bearing the distinctive puncture marks, police detective Karl Brettschneider (Melvyn Douglas) finds himself completely stymied. Brettschneider, who refuses to accept what he considers mere superstition, is not pleased when that eminent physician Dr. Otto Von Niemann (Lionel Atwill) hints that there may indeed be such things as murderous human bats. Herman Gleib (Dwight Frye), the village idiot, meanwhile, just happens to have a fondness for the nocturnal creatures -- "They're so soft!" -- and the villagers, as they are wont to do, grab their torches and commence a manhunt. Poor Herman is destroyed, but there is another killing. And this time the victim is Georgiana (Stella Adams), Dr. Von Niemann's housekeeper, who failed to serve the physician his late-night coffee. ~ Hans J. Wollstein, All Movie Guide

This drama, set within a boarding house, centers around a pregnant show girl abandoned by her boyfriend, a married man who conveniently returns to his wife. The despairing young woman considers ending her life, but is talked out of it by an aged couple. They themselves end up committing suicide. ~ Sandra Brennan, All Movie Guide

Ken Maynard goes undercover to prove that his father (Horace B. Carpenter), a bank president, did not commit suicide but was murdered in this routine Western from low-budget KBS Productions. Returning to his hometown of Mesa to find his father's death pronounced a suicide, Cal Weston (Maynard) is reunited with old friend Joel Winters (James Marcus) and his daughter, Ruth (Muriel Gordon), both of whom believe in Ken's theory of murder. Investigating, Ken learns that the bank's vice-president, Martin Carter (Niles Welch), has been cooking the books with the help of town bully Burl Adams (Al Bridge). But when his true identity is discovered by one of the gang members (William Norton Bailey), Carter and Adams turn the tables on Ken, who is in grave danger of being lynched by an irate citizenry. Happily, a vigilante committee that includes town rowdies Nip (Edward Brady) and Tuck (Charles King) believes in his innocence and the true culprits are made to confess. ~ Hans J. Wollstein, All Movie Guide

Reported to have cost a whopping $2 million, this musical was actually made for far less -- and looks it. But unlike She Done Him Wrong (1932), filmed simultaneously next door, Hello, Everybody! made nary a nickel. Both films starred newcomers, but unlike the irrepressible Mae West, hefty Kate Smith, of radio fame, was given very little opportunity to shine. Awarded script and casting approval, the radio star had chosen a Fannie Hurst tearjerker about a goodhearted but plump farm girl who finds solace in music while her boyfriend takes off with her svelte sister. Paramount, however, made the fatal mistake of casting Smith's real-life manager Ted Collins as her on-screen agent as well, and Collins' overbearing presence was of no help whatsoever to the nervous songbird. Adding insult to injury, Sally Blane, the nearly emaciated sister of equally svelte Loretta Young, played Smith's sibling, insuring that Kate's ungainly girth remained steadfastly in focus. A wardrobe consisting of matronly housedresses and an especially atrocious production number entitled &Pickanninnies' Heaven" put the final nail in the coffin. In the end, Hello, Everybody! proved enough of a loser for Kate Smith to stay away from feature films entirely until a brief cameo in the all-star wartime extravaganza This is the Army(1943). Mae West, meanwhile, considered the phrase "Hello, Everybody!" such a jinx that she reportedly prohibited anyone from using it in her presence! ~ Hans J. Wollstein, All Movie Guide

A ranch hand seeking to clear his father's name ventures into the territory of a fearsome outlaw in this B-Western starring genre stalwart Tom Tyler. Upon receiving word that his father has been charged with murder in Cheyenne, ranch hand Tom Lansing (Tyler) heads for home where his father is awaiting trial. Believing his father's claim that local criminal Butcher Wells was the man truly responsible for the murder, Tom throws caution to the wind and makes way for Wells' hideout in the ghost town of Twin Rock Canyon in search of the confession that will save his father's life. ~ Jason Buchanan, All Movie Guide

Adapted from a Zane Grey story, Wagon Wheels is a remake of the 1931 Gary Cooper starrer Fighting Caravans. Randolph Scott assumes Cooper's role, playing a trail guide named Clint Belmet. The plot follows the progress of a typical wagon train journey from Missouri to Oregon, with the usual quote of Indian attacks and outlaw treachery. Murdock (Monte Blue), the main villain, foments trouble between the whites and Indians on behalf of a carter of foreign fur traders, adding a bit of international intrigue to the proceeding. Gail Patrick, still in her "ingenue" period, portrays the heroine along more intelligent and self-reliant lines than usual. Generous amounts of stock footage from Fighting Caravans were liberally sprinkled throughout the 57-minute time span of Wagon Wheels. ~ Hal Erickson, All Movie Guide

After a burst of creativity in 1933 and 1934, independent Majestic Pictures had settled into the usual "B"-picture rut by 1935. One of the last Majestic efforts was Motive for Revenge, starring Donald Cook as hapless bank teller Barry Webster. Plagued by a domineering mother-in-law (Doris Lloyd), Webster impulsively steals bank funds so that he may properly support his wife Muriel (Irene Hervey). It isn't long before the Law catches up with Webster, and soon he's doing hard time in prison. Holding his mother-in-law responsible for his present sorry state, our anti-hero plots a terrible revenge -- but is he too nice a guy to go through with it? Most of the prison scenes in Motive for Revenge were culled from stock footage, which only served to emphasize the overall cheapness of the whole enterprise. ~ Hal Erickson, All Movie Guide