Budd Fine Movies

Battling Butler has to be the strangest of Buster Keaton's silent features. Based on the musical comedy of the same name, the film casts Keaton as wimpy millionaire Alfred Butler, who goes on a vacation in the mountains in the company of his faithful valet (Snitz Edwards). While communing with nature, Alfred falls in love with a beautiful young girl (Sally O'Neil), who barely acknowledges his existence. Without his master's knowledge, the valet tries to smooth the path of romance by telling the girl that Alfred is, in reality, boxing champion Battling Butler (Francis McDonald). The real champ, a mean-spirited sort, gets wind of this deception and decides to allow Alfred to continue the charade, fully intending to mop the floor with the puny millionaire in the boxing ring. But on the night of the big fight, Alfred suddenly gets tired of being pushed around and turns into a savage opponent, leaving the bullying Butler positively groggy. At this point our hero discovers that the girl would have loved him whether he was Battling Butler or not, and all ends well. Played as traditional Keaton comedy for most of its running time, Battling Butler goes dramatic with a vengeance in the climactic fight scene, with Keaton really giving his ring opponent a going over. The final scene is all the more powerful because it is so completely unexpected; if it surprises today's audiences, one can only imagine the effect it had on Buster Keaton's fans way back in 1926. ~ Hal Erickson, All Movie Guide

Having scored big-time box office with his first Biblical epic, The Ten Commandments (1923), Cecil B. DeMille hoped to top this success with his 1927 The King of Kings. Inasmuch as he was now dealing with the life of Christ, DeMille had to be careful to serve up equal amounts of showmanship and reverence. The first creative challenge: how to "introduce" Christ in a tasteful manner? The answer: as a blind child is cured through Jesus' intervention, DeMille cuts to the child's point-of-view, slowly fading in on the kindly countenance of H.B. Warner as the Son of Man. Still, DeMille remained DeMille, especially in his handling of the character of Mary Magdalene (Jacqueline Logan). No longer a tattered streetwalker, Mary Magdalene is now a glamorous courtesan, replete with legions of gorgeous slave girls (one of whom is "bubble dancer" Sally Rand) and dressed in revealing Hollywood-style gowns. In fact, the film opens on this character, as she ruminates over the defection of her favorite customer, Judas Iscariot (Joseph Schildkraut), who is spending far too much time with Jesus of Nazareth. Upon visiting Jesus herself, she immediately repents, casting off all her prior sins. Once again, the efficacy of the Cecil B. DeMille formula is proven: redemption has no dramatic value unless the film shows viewers why the sinner needs to be redeemed. Once he's gotten his box-office considerations out of the way, DeMille adheres faithfully to the particulars of Jesus' life, betrayal, trial, Crucifixion, and Resurrection. (Again, however, the director improves a bit upon his source material: the storm that follows the Crucifixion is of the same spectacular dimensions as the parting of the Red Sea in Ten Commandments, while the Resurrection is filmed in vibrant Technicolor). To back up the authenticity of his images, DeMille -- with an assist from scenarist Jeannie Macpherson -- utilizes Scriptural quotes in his subtitles. And to avoid any untoward publicity while filming, DeMille required all of his actors to sign legal documents preventing them from indulging in any sort of "sinful" activity; this meant that poor old H.B. Warner had to steer clear of alcoholic beverages for nearly a year, though he more than made up for lost time after his contract ran out. Prepared to mercilessly lambaste The King of Kings, DeMille's critics were disarmed by his reverent, tasteful approach to the subject. Years after the film's release, a specially prepared 60-minute version of the 18-reel King of Kings was making the rounds of religious groups, church basements, and Easter-weekend telecasts. The film was remade in 1961 by producer Samuel Bronston and director Nicholas Ray, with Jeffrey Hunter as Jesus. ~ Hal Erickson, All Movie Guide

When the hard-working, widowed mother of Our Gang member Allan "Farina" Hoskins falls ill, things look bad for her family: She has no money for food or medicine, and even worse, the cruel landlord intends to evict her unless two hundred dollars in back rent is immediately forthcoming. Determined to raise the money himself, Farina is equally determined not to let bad fortune weigh him down, and to that end he adopts a perpetual winning smile. Unfortunately, the rest of the gang misinterprets Farina's grin, thinking that he's mocking them. Only after Farina has been abused beyond reason by the other kids does Joe Cobb discover the truth. Hoping to make up for their past misdeeds, the gang vows to earn enough money to save both Farina's mother and her humble home. As it turns out, however, Farina and his family are rescued by a convenient oil gusher. Long considered lost, this silent, two-reel Our Gang comedy was rediscovered in France in 1991: Inasmuch as it has not yet been released to video, the above synopsis is based on contemporary reviews and an eyewitness account by "Little Rascals" historians Leonard Maltin and Richard W. Bann. Originally released on February 26, 1928, The Smile Wins was the last Our Gang film released through Pathe; thereafter, producer Hal Roach would distribute his product exclusively through MGM. ~ Hal Erickson, All Movie Guide

This late-20s gangster movie features Carole Lombard as a young gal who agrees to marry a smooth-talking gangster in exchange for the mob man's pledge to arrange a big-time concert appearance for her violinist boyfriend. The only thing that can save the day for the mis-aligned lovers is a shootout between the cops and the gangland thugs. This film is notable because it is one of the early 'talkies," and uses the newly developing audio technology with abandon. In fact, most of the action takes place off screen and the characters tell the cameras just what's happened. This one's small on sets, big on dialog. ~ All Movie Guide

The rise and fall of a popular entertainer provides the basis of this musical drama. Harry Raymond (played by nightclub superstar Harry Richman) begins his career with nothing but his ambition, his talent and the support of friends and loved ones. Eventually he hits the big time and becomes a star. Unfortunately with stardom comes arrogance and selfishness and he disdains his lowly but loyal lover and pals to hang out with the upper crust. His downfall comes from a bottle of tainted homemade gin. Harry nearly dies and ends up permanently blind. Fortunately, at least one of his old crowd is around to help him rebuild his life. ~ Sandra Brennan, All Movie Guide

After unsuccessfully impersonating a Mexican in his previous The Avenger, cowboy star Buck Jones returned to form in The Texas Ranger. Jones plays the title character, who on this occasion has been assigned to bring lady bandit Carmelita Geraghty to justice. Upon learning that the heroine turned to a life of crime because she was falsely accused of murder, Jones sets about to find the real killer. Briefly posing as an outlaw, our hero infiltrates Geraghty's outlaw gang, ultimately exposing the Benedict Arnold who framed her. A few clever directorial touches aside, Texas Ranger is a traditional Jones vehicle, but that's what the fans craved. ~ Hal Erickson, All Movie Guide

Drafted into the army during World War I, those muddled misfits Stan Laurel and Oliver Hardy make a shambles of Training Camp before being shipped to France. When their best pal Eddie (Donald Dillaway) is killed in battle, Stan and Ollie vow to locate the grandparents of Eddie's orphaned little daughter (Jacquie Lyn). Unfortunately, the grandparents are named Smith--and they live in New York City. With only a city directory and phone book as their guide, Stan and Ollie undergo several chucklesome misadventures as they scour the canyons of Manhattan to find Mr. and Mrs. Smith. With the orphanage officials hot on their heels, the boys take drastic action to raise enough money to get out of town with the little girl. All turns out well when Eddie's grandfather makes an appearance under the least likely circumstances. But before Laurel & Hardy can enjoy their own happy ending, they cross the path of an old enemy from their army days: a knife-wielding chef with blood in his eye. The second of Laurel & Hardy's feature-length films, Pack Up Your Troubles is, so far as we're concerned (and here we part company with most Laurel & Hardy buffs), infinitely more amusing than their first feature effort, 1931's Pardon Us. Best bit: An overtired Laurel, attempting to tell a bedtime story to the little girl, ends up snoozing away as the kid finishes the story. The powerhouse supporting cast includes such Laurel & Hardy regulars as James Finlayson, Billy Gilbert, Rychard Cramer, Charles Middleton and Charlie Hall. George Marshall, the film's director, proves a mirthsome menace in the small role of the vengeful chef. For years available only in its 62-minute reissue form, Pack Up Your Troubles was restored to its full 68-minute glory in the mid-1980s. ~ Hal Erickson, All Movie Guide

W.C. Fields is in fine fettle as small-town grocer Harold Bissonette (pronounced Biss-o-NAY). Harold dreams of becoming a California orange farmer, but his gorgon wife (Kathleen Howard) will have none of it. After a grueling day at the store, during which his electric light stock is destroyed by a cane-wielding blind man (Charles Sellon), and his floor is flooded with molasses by the impish Baby LeRoy, Harold announces that he's sold the store and bought an orange grove. Seeking to escape his wife's nagging, Harold tries to sleep on his porch, which proves impossible thanks to innumerable interruptions--not least of which is an insurance salesman (T. Roy Barnes) loudly asking for Karl LaFong ("capital L, small A, capital F, small O, small N, small G!") The next day, Harold packs his family into the car and heads off for California. Once there, the little band of pilgrims drives onto the property of a wealthy man, assuming that it's a public park. They make a shambles of the grounds while trying to have a picnic, whereupon they are chased off the land by the scowling owner (Guy Usher). Finally, Harold arrives at his "vast" orange grove--consisting of a tumbledown shack and one scrawny tree. Harold sits silently ruminating over his bad luck until his new neighbor informs him that a wealthy land developer wishes to buy Harold's property to build a stadium. "Don't let them bluff you," advises the neighbor. "You can get any price." The potential buyer turns out to be the same fellow whose property had been invaded by Bissonette the day before, but business is business. The buyer offers several insulting sums, but Harold, fortified by a flask of gin, holds firm. "You're drunk!" the buyer shouts. "And you're crazy," responds Harold. "But tomorrow I'll be sober, and you'll always be crazy." Harold's stubbornness saves the day, and we fade on the satisfying sight of the Bissonette family living in luxury on the huge orange grove of Harold's dreams. A remake of Fields' silent It's the Old Army Game, It's a Gift was written by J.P. McEvoy and one Charles Bogle--and there isn't a Fields fancier alive who doesn't know who Charles Bogle really is. Downplayed by detractors as being merely three two-reelers strung together, It's a Gift has survived such piddling criticism to emerge as one of W.C. Fields' funniest efforts, as well as a comedy classic by any standards. ~ Hal Erickson, All Movie Guide

Brooklyn tugboat worker Eddie (Eddie Cantor), bullied and cowed by his tough-guy stepfather and stepbrothers (a la Harold Lloyd's The Kid Brother), inherits $77 million from his uncle, an Egyptologist. Con artist Dot (Ethel Merman) wants to get her lunchhooks on the money, and to this end offers herself as Eddie's adopted mother (never mind that she's nearly 20 years younger), intending to have her thuggish brother Louie (Warren Hymer) bump off our hero at the first opportunity. The nonsensical plotline ends up with Eddie, Dot, Louie, pompous Southern colonel Larrabee (Berton Churchill), and nominal romantic leads Jerry (George Murphy in his film debut) and Jane (Ann Sothern) trapped in the palace of Arab potentate Mulhulla (Paul Harvey). The better-than-average comic banter includes some funny bits between Cantor and Eve Sully, of the comedy team of "Block and Sully" (her husband-partner Jesse Block is also in the picture, but just barely). Spotted among the featured players in Kid Millions are such "Our Gang" members as Stymie Beard, Scotty Beckett and Tommy Bond, and there's a specialty by the Nicholas Brothers during Cantor's obligatory "blackface" number; and yes, that's Lucille Ball as a blonde Goldwyn Girl in the harem sequence. PS: According to Ethel Merman, the film's elaborate Technicolor ice-cream factory finale, in which Eddie allows dozens of tenement kids to gorge themselves on his tasty confections, posed censorship problems: while producer Sam Goldwyn was allowed to show the little boys with comically extended stomachs, he was not permitted to do so with the little girls, for fear that the audience might think the female moppets were pregnant! ~ Hal Erickson, All Movie Guide

Anything Goes is a fun-filled but hardly faithful adaptation of the same-named Cole Porter Broadway musical, with additional songs by Hoagy Carmichael, among many many others. Set on a luxury liner, the story gets under way when Moonface Mullins (Charlie Ruggles), Public Enemy No. 13, slips on board disguised as a bishop. As he weaves in and out of the story, Billy Crocker (Bing Crosby) romances Hope Harcourt (Ida Lupino), titled Englishman Evelyn Oakleigh (Arthur Treacher) also pursues Hope, and brassy entertainer Reno Sweeney (Ethel Merman) chases after Sir Evelyn. Critics in 1934 complained that the original Broadway production's Victor Moore was replaced by Charlie Ruggles, but none could fault Ethel Merman's rendition of "I Get a Kick Out of You", nor her duet with Bing Crosby, "You're the Top" (the only two songs retained from the Porter score!) Anything Goes was remade in 1956, again with Bing Crosby, and again with little fidelity to the original (this remake required MCA Television to retitle the 1936 version as Tops is the Limit). ~ Hal Erickson, All Movie Guide

In this classic Three Stooges short, the boys are tramps on the lam from the railroad police when they happen in on an athletic club. They are enlisted as sparring partners, but when a wrestler, Bustoff, takes a liking to them, they are given the tough assignment of keeping him sober until his big match that night. Of course they are unsuccessful -- in fact, they add insult to injury by knocking him out with a pair of barbells and a locker -- but, with a quick exchange of whiskers they decide that Curly Howard looks enough like Bustoff to go in the ring. Earlier in the picture, it has been revealed that Curly goes haywire when he smells the perfume "Wild Hyacinth," and luckily a woman in the audience has a bottle of the scent. Curly goes from being a sure loser to braining everyone in his general vicinity -- including himself, with the help of the bell. This short has quite a lot in common with the Stooges' 1934 comedy, Punch Drunks. ~ Janiss Garza, All Movie Guide

Thunder Afloat is set during the first world war. Wallace Beery plays an veteran tugboat captain who harbors a grudge against younger ex-pal Chester Morris. When Morris joins the navy as an officer, he runs across Beery, who resparks the feud. Both men bury the hatchet and work shoulder to shoulder when German U-boats threaten innocent shippers. Though the action takes place in 1918, the film was intensely topical in 1939 given the renewal of maritime hostilities in Europe and the Far East. Thunder Afloat made money by the bushel basket, as did most of Wallace Beery's formula vehicles. ~ Hal Erickson, All Movie Guide

"Strange" is right: this mystical MGM melodrama has to be the oddest of the studio's Clark Gable-Joan Crawford vehicles. When eight prisoners escape from a New Guinea penal colony, they are picked up by a sloop commandeered by another escapee named Verne (Gable) and his trollop girl friend Julie (Joan Crawford). Among the fugitives is Cambreau (Ian Hunter), a soft-spoken, messianic character who has a profound effect on his comrades. One by one, the escapees abandon their evil purposes and find God-and a peaceful death--through the auspices of the Christlike Cambreau. The last to succumb to Cambreau's ministrations is Verne, who agrees to return to return to the prison colony serve out his sentence if Julie will wait for him (which she does). A superb Franz Waxman score provides a touch of show-biz grandeur to this haunting fable. ~ Hal Erickson, All Movie Guide