Dot Farley Movies

Absent from films since 1938 (except as producer of a brace of RKO Radio features), silent-screen comedy favorite Harold Lloyd returned before the cameras in The Sin of Harold Diddlebock. The project began as a labor of love between Lloyd and the brilliant, innovative producer/writer/director Preston Sturges. Though these two comedy geniuses eventually had a stylistic falling out, resulting in an uneven, spasmodically dreary film, on the whole Harold Diddlebock is well worth having. Sturges cleverly opens the picture with the final reel of Lloyd's silent classic The Freshman(1925), in which the drudge of the college football team makes good and scores the winning touchdown. The story proper begins in the locker room, where football hero Harold Diddlebock (Lloyd, looking three decades younger than his 53 years) is impulsively offered a job by banker J.E. Wagglebury (Raymond Walburn). Taking his place at his new desk and festooning his walls with inspirational homilies, Harold starts to work, supremely confident that he's poised on the brink of bigger things. Twenty-three years pass: In 1946, a weary, stoop-shouldered Harold is still at the same desk at the same job, his dreams of success but a dim memory. Summarily fired by the pompous Wagglebury ("You have not only ceased to go forward, you have gone backward"), Harold collects his final paycheck, cleans out his desk, and bids farewell to office girl Miss Otis (Frances Ramsden), all of whose older sisters had previously been Harold's sweethearts. Wandering aimlessly on the street with his severance pay in hand, Harold is spotted by a dessicated street hustler named Wormy (Jimmy Conlin), who inveigles the newly fired clerk to join him at a nearby bar. Informed that Harold has never taken a drink in his life, the bartender (Edgar Kennedy) lights up and declares, "Sir, you rouse the artist in me!" With great ceremonial flourish, the bartender concocts a potent beverage called the Diddlebock. Harold takes one sip of the brew, lets out a yell, and immediately loses all the inhibitions that have kept him from advancing himself in the past two decades. With Wormy in tow, Harold goes on a wild spending and carousing spree, totally losing track of an entire day-and-a-half.

At the end of his revelry, the hung-over Harold is awakened by his sister (Margaret Hamilton), who informs him that he's bought a garish new wardrobe, a ten-gallon hat, and goodness knows what else. He soon finds out what else when he ventures into the street and is informed that he's bought a horse-drawn cab (with driver!) -- and a circus, complete with hungry lions. Quickly formulating a plan to get rid of the circus at a substantial profit, Harold decides to elicit bids from the town's various bankers, bringing Jackie the Lion along with him so that the bank guards won't stop him at the door. All of this leads to a wild recreation of Lloyd's skyscraper-teetering gags from his silent days, a noisy episode at the local jail, and a romantic tête-à-tête with Miss Otis, who reveals at the very end how Harold really spent his "missing" Wednesday! Though it tested well upon its first release, Sin of Harold Diddlebock was abruptly withdrawn from circulation by its co-producer Howard R. Hughes, who spent four years reediting and sometimes reshooting the film before finally releasing it through RKO as Mad Wednesday. Both this version and the original Sin of Harold Diddlebock still exist; while the earlier version is undeniably richer in comic invention and characterization, the shortened Mad Wednesday works better in front of an audience. Neither version completely fulfills the potential of its premise, however. Though not to be missed, this final Harold Lloyd vehicle pales in comparison with his vintage silent comedies. ~ Hal Erickson, All Movie Guide

Roy Rogers and Dale Evans still weren't man and wife when they costarred in Republic's San Fernando Valley. As always, Rogers is cast as a cowboy who happens to be named Roy Rogers; Evans, on the other hand, plays feisty femme ranchowner Dale Kenyon. At the behest of Dale's grandfather (Andrew Tombes), Roy does the "Taming of the Shrew" bit, taking a job as ranch cook so he can woo and win the volatile Miss Kenyon. He also takes time out to capture a couple of bank robbers who'd earlier relieved him of his life savings. Many of the film's best scenes belong to hoydenish Jean Porter, cast as Dale's bratty kid sister: Ms. Porter would later retire from films to marry director Edward Dmytryk. ~ Hal Erickson, All Movie Guide

Handed the exploitive title Cat People, RKO producer Val Lewton opted for a thinking man's thriller--a psychological mood piece, more reliant on suspense and suggestion than overt "scare stuff". Simone Simon plays an enigmatic young fashion artist who is curiously affected by the panther cage at the central park zoo. She falls in love with handsome Kent Smith, but loses him to Jane Randolph. After a chance confrontation with a bizarre stranger at a restaurant, Simon becomes obsessed with the notion that she's a Cat Woman--a member of an ancient Serbian tribe that metamorphoses into panthers whenever aroused by jealousy. She begins stalking her rival Randolph, terrifying the latter in the film's most memorable scene, set in an indoor swimming pool at midnight. Psychiatrist Tom Conway scoffs at the Cat Woman legend--until he recoils in horror after kissing Simon. If the film's main set looks familiar, it is because it was built for Orson Welles' The Magnificent Ambersons (Lewton later used the same set for his The Seventh Victim). Cat People was remade by director Paul Schrader in 1982. ~ Hal Erickson, All Movie Guide

This film should have been a press agent's dream: Hollywood's two greatest "big mouths," Joe E. Brown and Martha Raye, together in the same picture. Brown and Raye play a show business couple who inherit a near-bankrupt college. They decide to build up the school's scraggly football team in hopes of improving alumni funding; somewhere along the line it is agreed to grant one thousand dollars for every touchdown scored, hence the title. Slapstick opportunities abound, and with the two stars at the helm, the film should have been far funnier than it is. But thanks to uninspired direction and a threadbare budget, $1000 a Touchdown was a disappointment for fans of both Martha Raye and Joe E. Brown. ~ Hal Erickson, All Movie Guide

Based on the Clare Booth Luce play of the same name, this MGM comedy is justly famous for its all-female cast and deft direction by George Cukor. The plot centers on a group of gossipy high-society women who spend their days at the beauty salon and haunting fashion shows. The sweet, happily wedded Mary Haines (Norma Shearer) finds her marriage in trouble when shopgirl Crystal Allen (Joan Crawford) gets her hooks into Mary's man. Naturally, this situation becomes the hot talk amongst Mary's catty friends, especially the scandalmonger Sylvia Fowler (Rosalind Russell), who has little room to talk -- she finds herself on a train to Reno and headed for divorce right after Mary. But with a bit of guts and daring, Mary snatches her man right back from Crystal's clutches. Snappy, witty dialogue, much of it courtesy of veteran screenwriter Anita Loos, helps send this film's humor over the top. So do the characterizations -- Crawford is as venomous as they come, and this was Russell's first chance to show what she could do as a comedienne. And don't discount Shearer -- her portrayal of good-girl Mary is never overpowered by these two far-flashier roles. The only part of The Women that misses is the fashion-show sequence. It was shot in color -- an innovative idea in its day -- but now both the concept and clothes are dreary and archaic. Do keep an eye on the supporting players, though, especially Mary Boland as the Countess DeLage. The role was based on a cafe society dame of that era, the Countess DiFrasso, who had a wild affair with Gary Cooper; that romance is satirized here. ~ Janiss Garza, All Movie Guide

Lawless Valley is one of the best of George O'Brien's series westerns for RKO Radio. Falsely accused of orchestrating a stage robbery with his conveniently deceased father, O'Brien spends the rest of the film trying to clear his name. Along the way, he uncovers the perfidy of land baron Fred Kohler Sr. (in his last film role), who's been committing murders all over the place to grab up every piece of the surrounding territory. Kohler even tries to inveigle heiress Kay Sutton into a forced marriage with his son to strengthen his land holdings. Forcing a confession from corrupt sheriff Earle Hodgins, O'Brien is able to tighten the noose around Kohler's neck, but not before a fistic set-to reminiscent of the similar O'Brien-Kohler donnybrook in 1924's The Iron Horse. Adding to the enjoyment of Lawless Valley is the presence in of Fred Kohler Jr., appropriately cast as Fred Kohler Sr.'s offspring. At one point, Kohler Jr. stands up to his father, whereupon Kohler Sr. growls "Careful, son--you're talkin' to your dad, you know!" ~ Hal Erickson, All Movie Guide

Produced by Coronet Productions and released by Columbia, The Stranger from Arizona represented a change of pace for cowboy star Buck Jones. The plotline is ordinary enough, with hero Buck Weylan (Jones) taking on a gang of rustlers who've been depleting the stock of female rancher Ann (Dorothy Fay). What sets this one apart is its endless stream of witty, sophisticated dialogue, more suited to The Thin Man than the Wide Open Spaces. Star Jones handles this verbiage with aplomb, and even slapstick comedian Hank Mann, a man not known for his skill with snappy patter, enters into the spirit of things. Billed fourth in the cast is cadaverous Hank Worden, future stalwart of the John Ford stock company. ~ Hal Erickson, All Movie Guide

Slightly reminiscent of Frank Capra's Platinum Blonde (31), this screwball comedy features those two stalwarts of 1930s comedies: The brash reporter and the giddy heiress. Tyrone Power is the reporter, who makes his living writing about the foibles of the idle rich. His special target is heiress Loretta Young, the daughter of an influential financier (Dudley Digges). Young gets even by announcing her engagement to Power; now it's his turn to have his every movement scrutinized by the Public. Both reporter and heiress connive to embarrass one another, but (as expected) they're headed for the altar at fadeout time. Love is News was remade in 1949 as That Wonderful Urge, with Tyrone Power reprising his role and Gene Tierney in the Loretta Young part. ~ Hal Erickson, All Movie Guide

Screenwriter Preston Sturges never lets the facts get in the way of a good story in this colorful filmed biography of turn-of-the-century millionaire Diamond Jim Brady. The hearty Edward Arnold stars as Brady, who parlays a small-time railroad supply firm into a thriving financial empire. Once he's in the chips, Diamond Jim indulges in his every whim, lavishing his money on wine, women, song and food -- lots and lots of food. Alas, for all his business acumen, he is never able to find true romance, striking out twice with coquettish Emma (Jean Arthur) and her more sedate look-alike Jane (also Jean Arthur). Along, the way, Diamond Jim also has a casual fling with the fabulous Lillian Russell (Binnie Barnes), but theirs is more a friendship than an affair. Having paid no attention to the truth throughout the film, writer Sturges felt no need to accurately portray Brady's ultimate demise, so he borrows a page from the old George Arliss vehicle Old English by having Diamond Jim deliberately eat himself to death. Edward Arnold would repeat his Diamond Jim Brady characterization opposite Alice Faye in 1940's Lillian Russell. ~ Hal Erickson, All Movie Guide

The musical picture that ended Lou Brock's career as an RKO Radio producer, Down to Their Last Yacht is almost festive in its awfulness. The nonsensical plot finds a group of impoverished socialites (including Sidney Blackmer and Marjorie Gateson) trying to raise money by renting out their yacht, offering themselves as crew members. When a nouveau riche family charters the yacht, everyone is marooned on the tropical island of Malakomokalu. Here blonde jungle queen Mary Boland rules the roost, demanding that the shipwrecked men make love to her and the island's hootchy-kootchy native girls, or suffer the consequence of being fed to the sharks. Once regarded as the worst film ever made by RKO, this legendary flop is actually a lot of fun in a "high camp" sort of way, with the love scene between Mary Boland and Sterling Holloway a particular highlight. Two future co-stars of Laurel & Hardy's Babes in Toyland, Felix Knight and Marie Wilson (her film debut), have small roles. ~ Hal Erickson, All Movie Guide

While Paris Sleeps is a grim expose of the European white slave trade. To save his daughter Manon (Helen Mack) from falling into the hands of a vicious gang of pimps, convict Jacques Costard (Victor McLaglen) escapes from jail. Jacques' problems are twofold: he must keep Manon from being abducted into a life of prostitution, and he must also hide his true identity from the girl, who has been raised to believe that Jacques died a hero in WWI. The film's gruesome "money scene" finds the white slavers disposing of a stool pigeon by incinerating him in a huge bakery oven! Can this be the handiwork of the same Allan Dwan who later directed Shirley Temple's Rebecca of Sunnybrook Farm? ~ Hal Erickson, All Movie Guide