Stanley Fields Movies

1938's The Painted Desert borrows the title and precious little else from the 1931 western of the same name. Hero George O'Brien makes it his mission in life to stop crooked Fred Kohler from getting his mitts on a valuable strip of land. He also takes time out to romance heroine Laraine Johnson, who went on to a substantial film career as Laraine Day. Singing cowboy Ray Whitley, billed third, provides three sagebrush tunes, including the title number. Now regarded as one of George O'Brien's weaker RKO Radio westerns, The Painted Desert pleased the crowd back in 1938, turning a tidy profit for the studio. ~ Hal Erickson, All Movie Guide

The 1938 filmization of Myron Brinig's novel The Sisters stars Bette Davis, Jane Bryan and Anita Louise as Louise, Grace and Helen Elliot. The daughters of turn-of-the-century druggist Henry Travers and his wife Beulah Bondi, the Elliot girls all meet their future husbands at a 1904 ball in honor of President Teddy Roosevelt. Special emphasis is given the relationship between Louise and reckless, irresponsible newspaperman Frank Medlin (Errol Flynn). Feeling trapped by his marriage, Medlin turns to drink and philandering. When Frank eventually runs off to Singapore, Louise is too proud to hold her husband by informing him that she's pregnant. Caught up in the 1906 San Francisco earthquake (superbly conveyed with a single interior shot of a collapsing apartment), Louise wanders around dazedly until she finds shelter in an Oakland brothel (though it is not so specified). She loses her baby, but is consoled by her employer Ian Hunter, who falls in love with her. The original book ended with Louise giving up her unhappy marriage for a joyous relationship with her boss; the film ends with Louise being reunited with the suddenly sobered Frank (despite the protests of both Bette Davis and Errol Flynn). A prime example of Hollywood Soap Opera, The Sisters also yielded an amusing reel of outtakes, the best of which shows Bette Davis breaking up Errol Flynn by sighing "I've just had a baby in the ladies' room." ~ Hal Erickson, All Movie Guide

In this musical an agent hawks a new singing star to irritate a wealthy socialite whom he managed to get on the radio. There the socialite found some success, but then she dumped her agent. As the radio network continues to search for new talent, music and mayhem ensue. Songs include: "Sweet Heartache," "Hail Alma Mater," "Last Night I Dreamed of You," "You'd Like It," "I'll Reach for a Star," "The Lady Wants to Dance," "Was It Rain," "Love Is Good for Anything That Ails You," "I've Got to Be a Rug Cutter," and "Jungle Rhythm." ~ Sandra Brennan, All Movie Guide

Allegedly based on two factual works, Bouck White's The Book of Daniel Drew and Matthew Josephson's The Robber Barons, RKO's The Toast of New York is a largely fanciful account of the career of 1870s financier "Jubilee Jim" Fisk. As played by Edward Arnold in his usual "tycoon" mode, Fisk was a likable scoundrel who finagled his way into the upper rungs of Wall Street as much for fun as for profit. The film conveniently ignores Fisk's involvement with the infamous Tweed Ring, and skims over his complicity in 1869's "Black Friday," one of the most disastrous events in American economic history. We are also offered a sanitized version of Fisk's notorious mistress Josie Mansfield, who as played by Frances Farmer is an apple-cheeked lass who regards Fisk only as a loyal friend. Cary Grant is along for the ride as "Nick Boyd," a thinly disguised version of Fisk's actual partner in crime Ned Stokes. Too costly to post a profit, Toast of New York is nonetheless fine non-think entertainment, kept alive by a superb supporting cast ranging from Donald Meek as Daniel Drew and Clarence Kolb as Cornelius Vanderbilt to such bit players as Laurel & Hardy perennial James Finlayson, who plays the inventor of a self-tipping hat! ~ Hal Erickson, All Movie Guide

Olsen and Johnson's second starring vehicle for Republic was better than their first (Country Gentlemen), but a Hellzapoppin' it wasn't. Ole and Chic play a couple of itinerant vaudevillians, teamed with Sally the Singing Seal ("the eighth wonder of the world"). Heroine Joan Eldredge (Mary Howard) is about to lose the theater left to her by her father, so O&J offer to stage a gala fund-raising show. Unfortunately, one of the potential backers (Eddie Kane) is murdered -- and for a while, it looks like the killer was Sally the Seal! Our heroes decide to capitalize on this setback by offering to reveal the real killer's identity during a nationwide radio hookup -- but first they need a sponsor, so the boys perform their old vaudeville musical act for "The Mackerel King" (played by perennial Laurel & Hardy stooge Jimmy Finlayson). Kidnapped just before the broadcast, Olsen and Johnson escape in time to finger the murderer, whereupon the culprit leads them on a zany chase throughout the darkened theater. All Over Town never really pulls together, but the irrepressible Olsen and Johnson deliver what may well be their funniest joint screen appearance. Incidentally, nominal leading man Harry Stockwell was the singing voice of the Prince in Disney's Snow White and the Seven Dwarfs--and the father of present-day actor Dean Stockwell. ~ Hal Erickson, All Movie Guide

The third of Paramount's "deluxe" westerns of the 1930s (following The Texas Rangers and The Plainsman) was Wells Fargo, filmed on a Cecil B. DeMille scale by producer-director Frank Lloyd. In his first western appearance, Joel McCrea plays Ramsey McCay, troubleshooter for the newly formed partnership of Henry Wells (Henry O'Neill) and William Fargo (Jack Clark). Dedicated to maintaining a safe and speedy overland mail and freight service to the West, Wells-Fargo is at the forefront of several important historical events, including the California Gold Rush, the formation of the Pony Express and the Civil War. Hero McCay is briefly separated from his wife Justine (played by McCrea's real-life spouse Frances Dee) during the last-named conflict, but the two are reunited late in life as Wells-Fargo celebrates its 20th year of service. Constructed in a rather pedantic "tableau" fashion (a frequent shortcoming in Frank Lloyd's films), Wells Fargo nevertheless contains several thrill-packed highlights, most of which would do service as stock footage in such later Paramount westerns as Geronimo. Originally released at 115 minutes, Wells Fargo was radically shortened in subsequent re-issues, almost completely eliminating the semi-villainous character played by fourth-billed Lloyd Nolan (if asked, audiences would probably have preferred to see far less of comedy-relief Bob "Bazooka" Burns). ~ Hal Erickson, All Movie Guide

District attorney Victor Shanley (John Litel) is forced out of his job through the machinations of gang boss Al Kruger (William B. Davidson). Thirsting for revenge against the legal system that apparently failed to back him up, Shanley goes to the "other side," becoming a defense lawyer on Kruger's payroll. This distresses his ex-wife Carol (Ann Dvorak), but Shanley cares only for the money he's raking in. At long last, however, Shanley's conscience is reawakened by Bob Terrell (Carlyle Moore Jr.), a mob functionary who elects to "go straight" and suffers mightily as a consequence. Midnight Court was co-scripted by Don Ryan, a Los Angeles reporter specializing in the night-court beat. ~ Hal Erickson, All Movie Guide

Set during the terrible Spanish Civil War, this film avoids political commentary in favor of objectively centering on the plight and personal lives of refugees preparing to board a train that will take them far away from the bloody horrors of war-besieged Loyalist-controlled Madrid. Once safely on the train, the film presents snippets from their lives in the same manner as was done on Grand Hotel (1932). Among the refugees are a political fugitive, his flirtatious ex-girl friend, a hooker, a baroness, a world-weary newspaper reporter and the orphan who follows him. In charge of making sure the train safely reaches its destination is a single guard. ~ Sandra Brennan, All Movie Guide

More ambitious than its budget will permit, Three Legionnaires details the misadventures of comrades-in-arms Chuck (Robert Armstrong), Jimmy (Lyle Talbot) and Grant (Donald Meek). In the days just following the Armistice, American doughboys Chuck and Jimmy separate themselves from the rest of their platoon and stumble into a remote Russian town. Falling in love with White Russian princess Sonia (Anne Nagel), our heroes attempt to rescue her from the Bolsheviks, enlisting the aid of crackpot scientist Grant. Stanley Fields makes a convincing Russian general, while wrestler "Man Mountain" Dean is at least a visually imposing presence as a Soviet peasant who breaks down walls when he can't find the door. On the other hand, there's French-accented Fifi D'Orsay as local Slavic tootsie Olga, who's about as convincing as a set of wooden teeth. ~ Hal Erickson, All Movie Guide

An airy screwball comedy, Danger--Love at Work explores the lives of a wealthy but wacky family. Ann Sothern plays the daughter, the only remotely "normal" member of the clan. Poor Jack Haley enters the scene as a feckless attorney who tries to get the family to finalize an important land deal. Sothern falls for Haley, and through the machinations of her looney parents the timorous lawyer winds up the object of a "shotgun wedding." The amusing but inconsequential Danger--Love at Work was the second American film of director Otto Preminger. ~ Hal Erickson, All Movie Guide

In this North western, a Mountie is assigned to patrol the Canadian and US border. He also stops the evil outlaws that have been terrorizing bordertowns by going undercover and infiltrating their gangs. ~ Sandra Brennan, All Movie Guide

This second film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical Show Boat is considered by many film buffs to be the best of the three. Covering nearly four decades (was there ever an Edna Ferber novel that didn't?), the film stars Irene Dunne as Magnolia Hawks, a role she'd previously played on stage, though not in the Broadway version. The daughter of showboat impresario Captain Andy (Charles Winninger, who was in the Broadway original), Magnolia is swept off her feet by dashing gambler Gaylord Ravenal (Allan Jones). Yearning to appear on the showboat stage, Magnolia gets her chance when Captain Andy's leading lady, the tragic Julie (Helen Morgan, likewise a holdover from Broadway), is ordered not to perform by a small-town sheriff because she is Mulatto. Julie's husband Steve (Donald Cook) loyally walks out with his wife, thereby leaving the leading-man position open--but not for long, since Gaylord Ravenal agrees to take over for Steve, the better to stay close to Magnolia. Despite the disapproval of Magnolia's mother Parthy Hawks (Helen Westley), Magnolia and Ravenal are married. Later on, the couple has a baby girl named Kim. At first, the young family is blissfully happy, but as Ravenal's gambling debts begin to mount, things turn sour. Unable to support Magnolia and Kim, Ravenal walks out on them both. Desperately, Magnolia tries to get a job as a singer in Chicago. She auditions at a night spot where, fortuitously, Julie is the featured attraction. Hoping to give Magnolia a break, Julie gets drunk, forcing the manager to hire Magnolia as a replacement. During her New Years' Eve debut, Magnolia "chokes up" in front of the raucous audience--and then, who should emerge from the crowd but lovable Captain Andy, who gives Magnolia the encouragement she needs. Magnolia goes on to become a famous musical comedy star, as does her grown-up daughter Kim (played as an adult by Sunnie O'Dea). On the eve of Magnolia's retirement from the theater, she is reunited with her now-contrite husband Gaylord Ravenal. While the second half of Show Boat departs radically from both the novel (in which Ravenal never returns ) and the Broadway show, the film manages to capture the spirit of its literary and theatrical ancestors. Of the original score, "Cotton Blossom," "Ol' Man River," "Where's the Mate for Me?" "Make Believe," "Can't Help Lovin' Dat Man," You are Love" and "Bill" are retained, while most of the other songs are heard as background accompaniment. Jerome Kern and Oscar Hammerstein II penned three new tunes for the film version: "Ah Still Suits Me," "Gallavantin' Around" and "I Have the Room Above." As in all stage and screen versions of Show Boat, the Charles K. Harris standard "After the Ball" is heard in the New Year sequence. In addition to the aforementioned Dunne, Jones, Winninger, Westley, Morgan, and O'Dea, the Show Boat cast includes the magnificent Paul Robeson as Joe (his rendition of "Ol' Man River" can still induce goosebumps), Hattie McDaniel as Queenie and Sammy White and Queenie Smith as the engagingly second-rate vaudeville team of Frank and Ellie Schultz. Though James Whale of Frankenstein fame seems an odd choice for director, he brings a vibrant theatricality to the proceedings that is lacking in other versions. Show Boat literally saved the financially strapped Universal Pictures from receivership--but not soon enough to prevent the ousters of Carl Laemmle Sr. and Jr. in favor of a new administration. ~ Hal Erickson, All Movie Guide

Josef Von Sternberg, past directorial master of movie exotica, came down to earth with The King Steps Out, a major studio musical. Set in 19th century Vienna, the plot concerns a sprightly young lady (opera star Grace Moore) who wishes to rescue her sister from marrying their cousin, the "wicked" Emperor Franz Josef (Franchot Tone). Disguised as a dressmaker, the girl instantly falls in love with the young monarch herself, and sings her way into his heart. The film is a compendium of every mittel-European operetta ever made, right down to the supporting appearance of Hermann Bing as an innkeeper named Pretzelberger. The King Steps Out was adapted from the Fritz Kreisler stage musical Cissy. ~ Hal Erickson, All Movie Guide