Robert Armstrong Movies

Hoping to immediately cash in on its blockbuster hit King Kong (1933). RKO Radio commissioned producers Willis O'Brien and Ernest B. Schoedsack to hastily slap together a sequel. Son of Kong begins where King Kong left off, with foolhardy entrepreneur Carl Denham (Robert Armstrong) facing hundreds of thousands dollars in lawsuits from the damages inflicted by the mighty Kong on the city of New York (remember?) Denham's partner Captain Englehorn (Frank Reicher) suggests that they escape to Malaya, where they make the acquaintance of Hilda (Helen Mack), the daughter of drink-besotted circus-owner Peterson (Clarence Wilson). When her father is killed in a fire caused by Norwegian sea captain Helstrom (John Marston), Hilda is comforted by Denham, who has taken a liking to the unfortunate girl. It turns out that Helstrom was the sailor who sold Denham the map to Skull Island, where King Kong once ruled unchecked. Hoping to escape prosecution for the fatal fire, Hellstrom claims that there's a fabulous treasure buried somewhere on Skull Island and offers to lead Denham and Englehorn back to the Pacific flyspeck. With no place else to go, Hilda stows away on Englehorn's boat and joins the expedition. After an unpleasant confrontation with the natives whom Kong trampled and chewed up in the earlier film, Denham and Hilda explore another part of the Island -- and there they find Little Kong, a 12-foot-high white gorilla who is as lovable as his "old man" was nasty. As the treacherous Hellstrom meets his doom elsewhere on the island, cute Little Kong protects his new friends Denham and Hilda from a variety of marauding dinosaurs, ultimately sacrificing his own life to save the human hero and heroine from a native war party. Largely played for laughs (at one point Little Kong makes an "Oy vey" gesture, as the soundtrack plays a snatch of a Jewish dance!), Son of Kong is nowhere near the classic stature of its illustrious predecessor. On the other hand, the stop-motion photography is quite impressive, at times even better than the animation seen in the original King Kong. ~ Hal Erickson, All Movie Guide

The concept of radio patrol cars was still brand-spanking new when this fast-moving programmer came off the Universal assembly line. Robert Armstrong and Russell Hopton star as Bill Kennedy and Pat Bourke, a pair of radio cops assigned to protect the payroll of a meat-packing company. Their job is complicated by a crooked officer who is "on the take." After undergoing a grueling training program, our heroes get a chance to prove their worthiness in a climactic set-to with the villains. When the smoke clears at fade-out time, four of the five main characters have been killed, which may have been something of a record back in 1932. ~ Hal Erickson, All Movie Guide

The first of many official and unofficial screen versions of Richard Connell's The Most Dangerous Game was put together by producer Willis O'Brien and directors Ernest B. Schoedsack and Irving Pichel in 1932. Leslie Banks stars as loony Russian count Zaroff, a renowned big-game hunter who tires of stalking animals and begins hunting down the "most dangerous game"-human beings. Luring unwary victims to his remote island, Zaroff wines and dines them, gives them a few hours' head start to run into the jungle, then hunts them down with rifle and bow and arrow. As his grisly trophy room demonstrates, Zaroff hasn't missed yet. Shipwreck survivors Joel McCrea and Fay Wray are Zaroff's latest quarry. "First the hunt, then the revels!" declares Zaroff, casting a lecherous eye towards the wide-eyed Ms. Wray. The original Connell story had no heroine, but who wants to watch Joel McCrea lose most of his clothing while scurrying through the jungle? The Most Dangerous Game was filmed on RKO's standing King Kong sets during a lull in the production of that classic film, utilizing most of the Kong personnel (actors Fay Wray, Robert Armstrong, Noble Johnson, Steve Clemente and Dutch Hendrian; producer O'Brien; director Schoedsack; composer Max Steiner). While the plot has been reshaped and recycled many times since 1932, RKO's only official remake of Most Dangerous Game was 1945's A Game of Death. ~ Hal Erickson, All Movie Guide

The most intriguing aspect of the 1932 Bert Wheeler-Robert Woolsey romp Hold 'Em Jail was that it was co-scripted by legendary humorist and frequent Marx Bros. contributor S. J. Perelman. The film bears a slight resemblance to the like-vintage Marx/Perelman collaboration Horse Feathers, in that both pictures are climaxed by a zany football game sequence. But while Horse Feathers is set at a college, Hold 'Em Jail takes place behind the cold gray walls of Bidemore Prison. Edgar Kennedy, Bidemore's warden, is all geared up for an impending all-prisoner football game; alas, his team is woefully short of talent. Kennedy puts out a call to Bidemore's "alumni," one of whom is nightclub-owner John Sheehan. When novelty salesmen Wheeler and Woolsey show up at Sheehan's club, the owner frames the two goofs on a robbery charge so that they'll be carted off to Bidemore and recruited for the football team. W&W make themselves at home in jail, securing jobs as trustees so that Wheeler can romance Kennedy's pretty daughter Betty Grable (who was 16 at the time, and looks it), while Woolsey pitches woo at Kennedy's homely sister Edna May Oliver (explaining that she's spent four years studying music in Paris, Edna confesses "I'm not a virtuoso." "Not after four years in Paris" is Woolsey's response). During the climactic gridiron activity, Wheeler and Woolsey spot the duplicitous John Sheehan on the other team, and struggle manfully to get him to sign a confession that will exonerate them. When originally previewed, Hold 'Em Jail was a musical comedy running 74 minutes; audiences laughed at the comedy scenes but groaned at the songs, whereupon the film was pared down to a 66-minute non-musical. ~ Hal Erickson, All Movie Guide

Ricardo Cortez plays a newspaper gossip columnist based on real-life journalist Walter Winchell (the film's title was in fact a Winchell catchphrase). Merrily dishing up innuendoes and destroying reputations, Cortez enjoys hobnobbing with the rich and powerful, including several disreputable citizens who back up their authority with bullets. He makes the error of announcing a gangland murder before the police have found the body, and in so doing is nearly rubbed out by the killers. An unregenerate louse for most of the film, Cortez finally mends his ways out of love for beautiful Helen Twelvetrees. Is My Face Red? is based on a play by Ben Markson and Allen Rivkin. ~ Hal Erickson, All Movie Guide

Any movie that teams Robert Armstrong with Jean Arthur is certainly worth at least one look. Armstrong plays Chester Binney, a small-town rube who hopes to impress local beauty Ethel Simmons (Arthur). Aware that Ethel is ga-ga about "men of the world," Chester invents a shady past for himself and poses as a citified roue. He is forced to prove the veracity of his fabricated past when movie queen Letta Lardo (Lola Lane) shows up in town for a location shoot. Our hero is rescued from making a total fool of himself when it turns out that his rival (Jason Robards Sr.) for Ethel's affections turns out to be an even bigger phoney-baloney than he is. Ex-Bad Boy is based on John Emerson and Anita Loos' stage play The Whole Town's Talking (which ironically served as the title for an unrelated 1935 film, likewise co-starring Jean Arthur). ~ Hal Erickson, All Movie Guide

A boxer and his girl try to dissuade their friend from getting involved with a Mafioso's gal. ~ Kristie Hassen, All Movie Guide

Paid was the third film version of the Bayard Veiller stage play Within the Law. Joan Crawford is cast as a shopgirl falsely arrested for stealing and sent to jail for three years. She swears vengeance on the store owner (Purnell Pratt), and to that end sets up a shady but legal racket wherein she and partner Marie Prevost act as "matchmakers" for lonely old men. It's all part of a plan to fleece the store owner by placing him in a compromising position, but Joan is sidetracked when she meets the owner's son (Kent Douglass. Marrying him in order to exact revenge on his father, Crawford falls in love with the young man and abandons her scheme. But once more, Crawford is wrongly accused of a crime, this time of murder. Paid ends happily for all concerned--especially MGM, which remade this reliable property (again!) under its old title Within the Law (1939), with Ruth Hussey in the lead. ~ Hal Erickson, All Movie Guide

In this drama, an older railroad supervisor is engaged to a lovely young woman. Unfortunately, she falls in love with the handsome hobo her husband befriended and employed as an engineer. A rivalry ensues, but when a life is endangered the two team up and save the day. The film may be most interesting for its detailed look into the railroads of the past. ~ Sandra Brennan, All Movie Guide

A primitive early talkie from Pathé, this crime drama starred relative newcomers Robert Armstrong and Carole Lombard, the latter still spelling her first name Carol. They play husband and wife, she threatening divorce unless he devotes more of his time to their marriage. In reality, Armstrong is an undercover detective busy investigating a dope ring lead by Reno (Sam Hardy), a crook with friends in high places. When Armstrong gets too close to the truth, Reno has him framed in the murder of corrupt newspaper publisher Addison (Charles Sellon). A Dictaphone recording Addison was making when he was murdered ultimately exonerates Banks, who can now return to his forgiving wife. Both Robert Armstrong and Carole Lombard would see their careers soar in the 1930s, he as the nominal star of King Kong (1933), she as one of Hollywood's best light comediennes. In fact, director Gregory La Cava and Lombard would collaborate again on My Man Godfrey (1936), one of the era's best screwball comedies and a far cry from the pedestrian Big News. ~ Hans J. Wollstein, All Movie Guide

Filmed silent, but outfitted with a Movietone musical score and sound effects, Woman From Hell was inspired by From Hell Came a Lady, a play by Jaime Del Rio, George Scarborough and Lois Leeson. The title character, played by Mary Astor is Dee Renaud, the principal attraction of a cheap sideshow. The seedy barker promises the yokels that if they're able to catch the "Lady From Hell," she will reward them with a kiss. When rapacious customer Slick Ericks (Roy D'Arcy) tries to go beyond kissing, Dee is rescued by lighthouse keeper Jim Coakley (Dean Jagger, in his film debut). Marrying Jim out of gratitude, Dee unsuccessfully tries to convince Jim's salty old father (James Bradbury Sr.) that she'll be a good and faithful wife. Alas, she is a slave to her passions, and it isn't long before she has become smitten by Jim's best friend Alf (Robert Armstrong), who responds in kind, inviting the girl to run off with him. When Jim's dad is incapacitated, however, Dee loyally remains in the lighthouse to operate the beam and avert a shipwreck. Realizing that Dee's true place is with her husband and father-in-law, Alf does the "right thing" and walks out of her life. ~ Hal Erickson, All Movie Guide

Rival arms smugglers in Cuba endeavor to be the first to send their weapons to the revolutionaries in Central America in this crime drama. One of the smugglers uses a woman to dupe the other smuggler into tripping up. Unfortunately, the woman, who has criminal problems of her own, ends up falling in love with the rival. ~ Sandra Brennan, All Movie Guide