Philip Faversham Movies

A woman who has long been short on feelings falls in love with a married man in this emotional drama. Gloria Wondrous (Elizabeth Taylor) is a model and party girl who lives for pleasure and is willing to take men for what she can get from them. Gloria bounces from man to man, but feels that she can only truly confide in Steve Carpenter (Eddie Fisher), a longtime friend with whom she shares a close but strictly platonic relationship, though his fiancée (Susan Oliver) suspects otherwise. Gloria becomes involved with Weston Liggett (Laurence Harvey), a wealthy but emotionally cold man who is married to Emily (Dina Merrill). Weston shows Gloria precious little respect or kindness at first, but as they share a few bouts with the bottle, they discover that both are desperately lacking in self-confidence and have little happiness in their lives. As Gloria and Weston reveal more about themselves to one another, they fall in love, but Gloria isn't sure if she can commit to one man, while Weston has to decide if he can leave Emily behind. Based on the novel by John O'Hara, Butterfield 8 earned Elizabeth Taylor her first Academy Award (for Best Actress) after four unsuccessful nominations. ~ Mark Deming, All Movie Guide

An idealistic but naive pharmacist believes the mobsters who claim they want him to manufacture illegal medicine to help out the poor. That the deal will pad his own pockets with much-needed cash only sweetens the arrangement. This melodrama chronicles the tragic results of his actions. He wants the extra money so he can get married. The scheme works and things are fine until his bride announces her pregnancy and insists that he get out of the racket. Unfortunately, the brutal mobsters refuse to let him out. Not long after, his bride miscarries the baby and nearly dies when a well-meaning doctor injects her with some of the druggist's own bad medicine. This causes the pharmacist to go berserk with rage and have a violent confrontation with the villainous mob boss. ~ Sandra Brennan, All Movie Guide

One of the first major Hollywood films to seriously address America's ongoing mistreatment of its Indian population, Massacre is more admirable for its intentions than its execution. The film was inspired by the activities of John Collier, commissioner for the Bureau of Indian Affairs during Franklin Delano Roosevelt's first term. A staunch advocate for Native American rights, Collier had been far more effective than his predecessors in this pursuit, effectively purging much of the corruption and bigotry then prevalent in the administration of the Indian Reservation system. The film's John Collier counterpart, a man named Dickinson (Henry O'Neill), turns out to be less important to the storyline than Joe Thunder Horse, the "assimilated" college-educated Sioux portrayed by Richard Barthelmess. Upon the death of his father, who was the tribal chieftain, Joe returns to the reservation of his youth, only to discover that his people are dying of various diseases and are being systematically cheated of their possessions and basic rights by crooked Indian agents. He heads to Washington in hopes of righting these wrongs, only to experience prejudice and hatred all along the way. Eventually successful in his efforts, Joe casts away the last vestige of his "white" existence by giving up socialite Norma (Claire Dodd) in favor of Sioux maiden Lydia (Ann Dvorak). The optimism of the final reels is sorely at odds with the rest of the picture, which paints a bleak portrait of an oppressed people under the thumb of corrupt, rapine petty tyrants (colorfully represented by Dudley Digges as the worst of the batch). The deck-stacking is a bit hard to take at times (surely there must have been some Indian agents who weren't substance abusers and lechers), but it's undeniably effective in the usual over-the-top Warner Bros. tradition. The film's oddest scene (and the one which has drawn the most attention from William K. Everson and other prominent film historians) finds a stereotyped African American valet (Clarence Muse) looking disdainfully upon the Indians as his racial inferiors! ~ Hal Erickson, All Movie Guide

Ruth Chatterton tears up the screen in this fast-paced, lusty comedy. Alison Drake is an automobile magnate, a hard-nosed, hardboiled business woman making dozens of important decisions a day. In her private life, however, she is passionate and bold in her pursuit of male companionship, which she frequently finds among the ranks of her own employees and executives; the problem is that these men can't abide the fact that back at work, she's all business again; and she keeps having to get their long, mopey faces out of her presence by transferring them elsewhere. Then she meets Jim Thorne (George Brent), a gifted engineer who is attracted to Drake but isn't a callow, cowtowing yes-man, and isn't awed by her millions. After a few awkward encounters, they find a balance in their lives together, or so she thinks, until he proposes marriage. ~ Bruce Eder, All Movie Guide

The last--and to some aficionados, the best--of choreographer Busby Berkeley's three Warner Bros. efforts of 1933, Footlight Parade stars James Cagney as a Broadway musical comedy producer. Cagney is unceremoniously put out of business when talking pictures arrive. To keep his head above water, Jimmy hits upon a swell idea: he'll stage musical "prologues" for movie theatres, then ship them out to the various picture palaces in New York. Halfway through the picture, Cagney is obliged to assemble three mammoth prologues and present them back-to-back in three different theatres. There are all sorts of backstage intrigues, not the least of which concerns the predatory hijinks of gold-digger Claire Dodd and the covetous misbehavior of Cagney's ex-wife Renee Whitney. Joan Blondell plays Jimmy's faithful girl-friday, who loves him from afar; Ruby Keeler is the secretary who takes off her glasses and is instantly transformed into a glamorous stage star; Dick Powell is the "protege" of wealthy Ruth Donnelly, who makes good despite this handicap; Frank McHugh is Cagney's assistant, who spends all his time moaning "It'll never work"; and Hugh Herbert is a self-righteous censor, who ends up in a censurable position. The last half-hour of Footlight Parade is a nonstop display of Busby Berkeley at his most spectacular: the three big production numbers, all written by Harry Warren and Al Dubin, are "By a Waterfall", "Honeymoon Hotel", and "Shanghai Lil", the latter featuring some delicious pre-code scatology, a tap-dance duet by Cagney and Keeler, and an out-of-left-field climactic salute to FDR and the NRA! ~ Hal Erickson, All Movie Guide

Those who only know Pat O'Brien from his later, slightly more avuncular roles may be surprised to see him pumping out almost as much energy as his friend (and sometime co-star) James Cagney, in the lead and title role of College Coach. As James Gore, the head football coach for Calvert College, he leads his team to victory at any cost, including fair-play, decent (if not good) sportsmanship, and honesty -- he's even got his hooks into the financial end of a stadium deal. But all isn't well with those around Gore -- his best and most honorable player, Sargeant (Dick Powell, really wants to get an education while playing college ball, and finally backs out when he sees the hypocrisy around him; and his other top player, Weaver (Lyle Talbott), is a self-centered headline hound with an IQ in low double-digits who is a detriment to the team whenever he isn't scoring touchdowns. And his work seems to be unraveling when his tactics bring about a tragedy on the playing field. But it's when he discovers that his own wife (Ann Dvorak) is feeling so neglected that she's been pushed toward infidelity -- with Weaver -- that he realizes he's gone too far. With Calvert College about to lose much of what it stands for academically over the collapse of its football team, help comes from unexpected places, including a wife who still loves him and the one player Gore had who is smart enough to see the bigger picture. ~ Bruce Eder, All Movie Guide