Barry Fitzgerald Movies

Based on the classic novel by mystery author Agatha Christie that was later adapted as the Broadway hit Ten Little Indians , And Then There Were None begins with ten characters, each with a skeleton in his or her closet, on a remote island off the English coast. They soon realize that they have been brought there by an insane judge, who has tried each of them for criminal behavior in the past, and who now feels it is his duty to render proper justice for each. The struggle to stay alive begins as each "guest" is eliminated in a fashion that corresponds to the titular nursery rhyme. Walter Huston, Louis Hayward, and C. Aubrey Smith are among those marked for death. The film's ending differs from that of the novel, and later remakes in 1966, 1975, and 1989 (all using the title Ten Little Indians), alternated between Christie's original finale and this film's climax. Depending on one's taste, the film's pacing is either excruciatingly slow or suspenseful, but the storyline has become a cinematic staple in everything from horror (Theatre Of Blood) to satire (Murder By Death). ~ Don Kaye, All Movie Guide

Broth of a Boy is an even-keel film version of a play by Irish dramatist Hugh Leonard. Barry Fitzgerald plays the world's oldest man, a taciturn centenarian Irishman. Media representatives converge on Fitzgerald's village on the occasion of the old coot's 110th birthday. The eager TV exec who stages the event discovers that damage control is definitely in order: not only is Fitzgerald a widely despised poacher, but he also truculently refuses to participate in the ceremony. Broth of a Boy is a pleasant, easygoing satire of exploitive journalism--a target that is as viable today as it was in 1959. ~ Hal Erickson, All Movie Guide

Randolph Scott was the star of Corvette K-225, a tribute to the World War II corvette escorts which guided Allied convoys through treacherous Atlantic waters. Scott plays the officer in charge of a Royal Canadian corvette cruiser, dedicated to keeping the troops safe from enemy submarine attack. The focus of the film is a danger-ridden journey from Halifax to Britain, the tension quotient heightened by the use of actual combat footage. Only the romantic triangle involving Scott, James Brown and Ella Raines bogs down this thrill-a-minute war picture. Corvette K-225 was produced by Howard Hawks, though the direction was credited to Richard Rosson. ~ Hal Erickson, All Movie Guide

Barry Fitzgerald's distinctive brand of Irish blarney, which was wonderful in small doses, leaned towards the precious and boring when he was given a leading role. In Easy Come, Easy Go, Fitzgerald portrays an inveterate horse player who refuses to allow his grown daughter (Diana Lynn) to get married. His motives are less paternal than materialistic: Fitzgerald has been spending all his daughter's hard-earned money at the racetrack. The old duffer reforms by fade-out time, allowing Lynn to choose between her pompadoured swains Sonny Tufts and Dick Foran. This bears no relation to the 1968 Elvis Presley musical of the same name, beyond the fact that both pictures were released by Paramount. ~ Hal Erickson, All Movie Guide

"Boys Town" goes to turn-of-the-century St. Louis in this moving drama that chronicles the love of a determined priest struggling to turn around the lives of a street-wise gang of newsboys living at his homeless shelter. The good father has little money and must use his wits and ability to convince others to help out to supply the little shelter. Much of the story centers on his relationship with a troubled lad who accidentally kills someone. ~ Sandra Brennan, All Movie Guide

In this thriller, a man is brutally murdered and an innocent man takes the rap. The real murderer later confesses his crime to his priest. The priest strongly urges the killer to tell the police, but he steadfastly refuses. At the end, the killer attacks and mortally wounds the priest. The murderer feels guilty for his deed and gives the priest a lifesaving blood transfusion. He then admits his crime and saves the innocent man from execution. ~ Sandra Brennan, All Movie Guide

Spanning 50 years, director John Ford's How Green Was My Valley revolves around the life of the Morgans, a Welsh mining family, as told through the eyes of its youngest child Huw (Roddy McDowall). Over the years, the family struggles to survive through unionization, strikes, and child abuse. As they do so, their hometown and its culture begins to slowly decline. Donald Crisp portrays Gwilym, the patriarch of the Morgan household, who dreams of a better life for young Huw. Based on the novel of the same name by Richard Llewellyn, How Green Was My Valley won five Academy Awards in 1941, including Best Director, Best Supporting Actor (Crisp), Best Art Director, Best Cinematography, and Best Picture (beating Citizen Kane). The book was later adapted into a 1975 BBC miniseries. ~ Matthew Tobey, All Movie Guide

Incendiary Blonde is a highly entertaining if historically suspect biopic of "Queen of the Nightclubs" Texas Guinan. As played (or overplayed) by Betty Hutton, Guinan is a hoydenish Texas gal whose showbiz career gets under way when she joins a Wild West show in 1909. A favorite with male patrons because of her salty vocabulary and what-the-hell attitude, Guinan rises to fame as a Broadway musical-comedy star and movie actress, only to crash-land after an unhappy marriage to her manager Tim Callahan (Bill Goodwin). Taking advantage of Prohibition, Guinan opens the first of several nightclubs, fending off the Feds while welcome her customers with an insouciant "Hello, sucker!" Naturally, Betty Hutton is given several opportunities to sing and dance, which she does with her usual unbridled enthusiasm. ~ Hal Erickson, All Movie Guide

M.G.M.'s opulent costume drama Marie Antoinette marked a return to the screen after a two-year absence for reigning Queen of M.G.M. Norma Shearer. Shearer plays the title role of an Austrian princess who is married off to Louis Auguste (Robert Morley), the Dauphin of France. Marie, by becoming the Dauphine, finds herself plopped smack in the middle of French palace intrigue between Louis's father King Louis XV (John Barrymore) and his scheming cousin, the Duke of Orleans (Joseph Schildkraut). With Louis unable to consummate his marriage to Marie, she takes to holding elaborate parties and gambling her fortune away. In a casino, she meets the handsome Count Axel de Fersen (Tyrone Power) and they have an affair. But when Louis XV dies and Louis becomes King Louis XVI, Fersen takes his leave, telling her that he could carry on an affair with a dauphine but not the Queen of France. Marie vows to be a great queen and remain loyal to her king. But the Duke of Orleans is plotting against Louis XVI, financing the revolutionary radicals. When the monarchy is overthrown, Louis and Marie are thrown into prison, awaiting execution. But when word gets back to Fersen, he travels back to France in an attempt to rescue Marie. ~ Paul Brenner, All Movie Guide

Young model Jean Dexter is knocked unconscious and drowned in her own bathtub in her Manhattan apartment, and a lot of jewelry that she supposedly owned is missing. The Naked City is actually about six days in the life of New York City that coincide with the murder and the subsequent investigation by Lt. Dan Muldoon (Barry Fitzgerald) and Detective James Halloran (Don Taylor). The account of their work, and the workings of the New York City police department, is interspersed with brief vignettes about the life of the city around them, and, especially, the reaction of residents to the murder and the newspaper reports of the progress of the case. Muldoon and Halloran first must determine why she was killed, which may (or may not) have to do with how a woman with a minimal income came by the jewelry -- was it a love affair gone bad (and if so, with whom?), or something more complex and sinister? Retracing the final 18 months of the victim's life, their investigation reaches out to a mysterious "Philip Henderson" with whom she was supposedly linked romantically, and to Frank Niles (Howard Duff), who's a little too fast-and-loose with the truth when he doesn't have to be to make Muldoon comfortable; to make things more complicated, Muldoon determines that there were at least two men involved with the actual commission of the murder. The victim turns out to have led a wild life, filled with men and parties, and was tied up with several sordid figures. Their investigation carries them into the highest and lowest ends of New York's social strata to find the killer, and it turns out there are a lot of interlocking reasons why at least three men might've wanted her dead. In the process, we get glimpses of the private lives of the detectives, which was something new in movies at this time; in the midst of all of this activity, the writers set up a fascinating contrast, in adjacent scenes, between Halloran, his wife, and their young son looking toward the future, with the parents of the dead woman, looking back with bitter regret and recriminations -- no movie ever presented in more subtle fashion the contrast between the zeitgeist of the 1930s and that of the postwar era. The final chase on the Williamsburg Bridge is one of the classic pieces of suspense cinema, as the armed and desperate killer races up the walkway past children playing and adults strolling, while detectives close in on foot from behind and patrol cars come up from ahead, with crowded subways rolling past, and then into the superstructure of the bridge for a stand-off and shootout. Sharp-eyed viewers will spot future character leads Paul Ford, James Gregory, John Marley, Kathleen Freeman, and Arthur O'Connell as well as familiar faces Tom Pedi, John Randolph, Molly Picon, and Walter Burke in the supporting cast. Cinematographer William Daniels and editor Paul Weatherwax won Oscars for their work, but awards might just as easily have been presented to director Jules Dassin, writers Albert Maltz and Malvin Wald, composers Miklos Rozsa and Frank Skinner, and, most notably, to producer/narrator Mark Hellinger, who intoned the closing monologue, which opens with one of the most famous tag lines in movie history: "There are eight million stories in the Naked City." ~ Bruce Eder, All Movie Guide

An outbreak of cholera threatens a luxury liner in this surprisingly low-budget melodrama from RKO. En route from Shanghai to San Francisco, chief engineer Crusher McKay (Victor McLaglen) and shipboard doctor Tony Craig (Chester Morris) become rivals for the attention of nurse Ann Grayson (Wendy Barrie). A Chinese stowaway, meanwhile, infects the stokehold with cholera and it is left to Crusher to keep the engines at full throttle until reaching harbor. But morale sinks to an all-time low when Crusher himself is stricken and the overworked men threaten with mutiny. Tony attempts to keep the stokers in check but the situation is growing more dangerous by the minute when a heroic Crusher rises from his sickbed. Leaving their previous petty squabbles behind, Tony and Crusher manage to guide the ship safely to harbor, where the doc and Ann rekindle their romance. ~ Hans J. Wollstein, All Movie Guide

In this crime drama set on the seedy waterfront of San Francisco, a longshoreman studies in his spare time to become an aircraft mechanic. He is also in love with a barmaid who works at her father's saloon. One day at the bar, the longshoreman gets into a fight with a man who is later found dead. Naturally, the longshoreman becomes the prime suspect and is arrested. There are two men who can prove him innocent, but they are in league with the real killer, a fugitive from Alcatraz. Meanwhile, a priest, a drunk, and the girl's father try to prove that the longshoreman is innocent by finding the fugitive's wife. The barmaid and the trampy wife then get in a big fight. In the end, the priest and the fugitive wrestle it out and the thief gets his just desserts. ~ Sandra Brennan, All Movie Guide