Neil Fitzgerald Movies

A dazed man, David Stillwell (Gregory Peck), wanders down the stairs of a New York skyscraper during a power blackout, only vaguely aware of who he is, where he's been, and why he has this nagging feeling that danger lurks all about him. Stillwell does know that many of the people in the building are acquainted with him -- and that he is somehow linked with the death of wealthy philanthropist Charles Calvin (Walter Abel), who has fallen 27 floors to his death (a special effect that was remarkable for its time). From this point onward, everyone Stillwell meets is connected with Calvin's death, or is in some way threatening Stillwell's well-being. When he seeks the help of Dr. Pepper-imbibing private eye Ted Caselle (Walter Matthau), he is told that "you don't want to remember" -- shortly before Caselle is murdered by persons unknown. Only the enigmatic Sheila (Diane Baker) evinces any real sympathy, and she too is part of the conspiracy aimed at silencing and/or neutralizing the dumbfounded Stillwell. Mirage has far too many twists of plot to go into here, but if you stay with it, everything is satisfactorily explained. Less than three years after its initial release, the black-and-white Mirage was remade in color as Jigsaw. ~ Hal Erickson, All Movie Guide

Bulldog Drummond's Bride is the next-to-last entry in Paramount's series of "Drummond" B-pictures. It goes without saying that the oft-postponed wedding of Bulldog Drummond (John Howard) and Phyllis Clavering (Heather Angel) is interrupted yet one more time. The reason is a Parisian crime wave, instigated by master crook Eduardo Ciannelli. ~ Hal Erickson, All Movie Guide

In this interesting drama, a highly respected straight-arrow Irish cop is pleased when his son follows him onto the force. Unfortunately, the son is more interested in promotions than in upholding the law and he makes few friends among his peers. When he shoots a child caught stealing, the others frame him and he is sent to prison where his attitude becomes even worse than before. Upon his escape, the bad seed goes on a crime spree. He then learns that his wife has just borne him a son. When he goes to the hospital to see the babe, his father, who set this trap, arrests him and sends him back to the pokey, proving that in this case, justice is thicker than blood. ~ Sandra Brennan, All Movie Guide

Both film versions of Phillip Barry's stage comedy Holiday have their merits, but the 1938 version has the added advantage of supercharged star power. Katharine Hepburn and Doris Nolan play Linda and Julia Seton, two daughters of a very well-to-do family. Linda feels a bit lost in the shuffle as sister Julia prepares to marry self-made financier Cary Grant. Hepburn has always rebelled against her privileged trappings, and finds a kindred spirit in the unorthodox, iconoclastic Grant. On the verge of compromising his down-to-earth values with his marriage to the wealth-obsessed Nolan, Grant chooses instead to plight his troth with soul-mate Hepburn, celebrating his "liberation" by doing several cartwheels. Donald Ogden Stewart is careful to bring the pre-Depression frivolities of the Barry play up-to-date, first by changing the character of Grant's best friend (played in both films by Edward Everett Horton) from a lazy socialite to a dedicated professor, and by including several lines indicating how out of touch the privileged classes are--and choose to remain--with 1930s realities. The only element in which the remake does not improve on the original is in the casting of Hepburn's alcoholic younger brother; charming though Lew Ayres is in the 1938 film, he is still outclassed by Monroe Owsley in Holiday (1930). Katharine Hepburn managed to temporarily defray her "box office poison" onus when Holiday proved to be a success; alas, her next film, Bringing Up Baby (which reteamed her with Grant), was a financial bust, compelling her to return to Broadway--where she made a spectacular comeback in another Philip Barry play, The Philadelphia Story. ~ Hal Erickson, All Movie Guide

London by Night was filmed entirely on the MGM back lot, which admittedly looked more like England than England. Adapted from Will Scott's play The Umbrella Man, this atmospheric thriller concerns the a series of murders committed in foggy Sundial Square by an elusive gentleman known variously as The Umbrella and Mr. Rabbit. Irish reporter Michael Dennis (George Murphy) joins forces with Scotland Yard inspector Jefferson (George Zucco) to trap the killer and determine his (or her) motives. Adding to the confusion is the fact that two of the "victims" are still alive -- and that those "two" are actually one! Among those bumped off by the villain are Eddie Quillan and Virginia Field, both cast against type as cockney pub-crawlers. If there was any doubt as to the identity of The Umbrella, the closing credits wipe them away by billing the actor in question under all his screen aliases. ~ Hal Erickson, All Movie Guide

Set during World War I, Lancer Spy stars a young George Sanders as Michael Bruce, an officer in the British Navy who bears an uncanny resemblance to the recently-captured Baron Kurt von Rohbach (also Sanders). Rohbach is highly connected in the German aristocracy, and his capture has been kept quite secret. This allows Bruce to be drafted into service to impersonate the German officer, infiltrate the enemy at the top level, and send back information that can turn the tide in the war. Bruce does a remarkable job and fools just about everyone; only the head of the secret police Major Gruning (Peter Lorre) has his doubts, but he can hardly accuse someone of the Baron's standing on nothing more than suspicions. He therefore engages a comely nightclub singer Dolores Daria Sunnell (Dolores Del Rio) to seduce Bruce and find out if his suspicions are sound or baseless. Unfortunately for Gruning, the singer finds her heart genuinely stolen by the imposter. She discovers the truth, but refuses to out him. Meanwhile, Gruning has laid his hands on some evidence of his own, and he moves to capture Bruce. Having accomplished his mission, Bruce flees to Switzerland. Gruning captures Dolores instead and puts her to death for her betrayal. ~ Craig Butler, All Movie Guide

Maxwell Anderson's blank-verse play Mary of Scotland was adapted for the screen by Dudley Nichols and directed with a surprising paucity of verve by John Ford. Katharine Hepburn, in one of the "icy" roles that would later earn her the onus of "box office poison", stars as Mary Stuart, who serves as the Queen of Scotland until she is jealously put out of the way by her British cousin, Queen Elizabeth I (Florence Eldredge). Sold out by the Scots nobles, Mary is sentenced to the chopping block for treason. Elizabeth is willing to pardon Mary if only the latter will renounce all claims to the British throne, but Mary refuses, marching to her death with head held high (the Mary/Elizabeth confrontation scene was purely the product of Maxwell Anderson's imagination; in real life, the two women never met). RKO contractee Ginger Rogers dearly coveted the role of Queen Elizabeth, but the studio refused to allow her to play so secondary a role. To prove to the RKO executives that she would be ideal for the part, Ginger secretly arranged for a screen test, in which she was convincingly made up as Elizabeth (even to the point of cutting her hair into a high-foreheaded widow's peak). Contemporary reports indicate that Ginger's audition was brilliant; still, RKO would not consider casting her in the part, so the role of Elizabeth went to Florence Eldridge, the wife of Fredric March, who was cast in Mary of Scotland as Mary's fearless protector the Earl of Bothwell. On the whole, Mary of Scotland is a snoozefest, save for the scenes featuring Douglas Walton as Mary's cowardly husband Darnley. ~ Hal Erickson, All Movie Guide

The Informer, Liam O'Flaherty's novel of the the Irish "troubles" of the early 1920s, was first filmed in England in 1929, with Cyril McLaglen in the lead. When director John Ford remade The Informer in 1935, the role of the tragic Irish roisterer Gypo Nolan went to Cyril's brother Victor McLaglen. The scene is Dublin, during the Sinn Fein rebellion. Gypo has tried to join the IRA, but has been bounced because he lacked full commitment to the cause. Gypo's best friend is Frankie McPhillip (Wallace Ford) a fugitive from the British "Black and Tans" with a price on his head. Hoping to start a new life with his streetwalker girlfriend Katie Madden (Margot Grahame), Gypo informs on Frankie, collecting the twenty-pound reward. Frankie is cornered and killed by the British troops; Gypo briefly suffers the pangs of conscience, but is too simple-minded to grasp the full impact of his betrayal. Suspecting that Gypo has turned in Frankie, IRA commander Gallegher (Preston Foster) orders his men to keep tabs on the big lout. As Gypo stupidly squanders his money on food, drink and entertainment, Gallegher's lieutenants keep tab of every penny spent. Finally dragged before the rebel court, Gypo tries to bluff his way out of trouble, fingering another man (Donald Meek) as the informer, but this subterfuge quickly falls apart. Sobbingly, Gypo confesses his treachery. Before his execution can be carried out, he escapes, but his hiding place is given away inadvertently by Katie. Regretfully, because they realize Gypo is too childish to be fully responsible for his actions, the IRA members shoot the man down. With his last ounce of strength, Gypo drags himself into the church where Frankie's mother (Una O'Connor) prays for his son's soul. "Twas I informed on your son, Mrs. McPhillip," Gypo weeps, "Forgive me." "Ah, Gypo, I forgive you," the grieving mother replies. "You didn't know what you were doing." Exultantly, Gypo looks heavenward, and, just before succumbing to his wounds, bellows "Frankie! Frankie! Your mother forgives me!" The Informer earned Victor McLaglen an Oscar, as well as several other nominations; the film did poorly at the box office, but John Ford had anticipated this reaction, reportedly waiving his considerable salary just to make certain that picture--a labor of love for the director, who was himself a native of Ireland--would be completed. The film was remade in 1968, relocated to the black ghetto of Los Angeles and retitled Uptight!. ~ Hal Erickson, All Movie Guide

This greatest of all Frankenstein movies begins during a raging thunderstorm. Warm and cozy inside their palatial villa, Lord Byron (Gavin Gordon), Percy Shelley (Douglas Walton), and Shelley's wife Mary (Elsa Lanchester) engage in morbidly sparkling conversation. The wicked Byron mockingly chastises Mary for frightening the literary world with her recent novel Frankenstein, but Mary insists that her horror tale preached a valuable moral, that man was not meant to dabble in the works of God. Moreover, Mary adds that her story did not end with the death of Frankenstein's monster, whereupon she tells the enthralled Byron and Shelley what happened next. Surviving the windmill fire that brought the original 1931 Frankenstein to a close, the Monster (Boris Karloff) quickly revives and goes on another rampage of death and destruction. Meanwhile, his ailing creator Henry Frankenstein (Colin Clive) discovers that his former mentor, the demented Doctor Praetorius (Ernst Thesiger), plans to create another life-sized monster -- this time a woman! After a wild and wooly "creation" sequence, the bandages are unwrapped, and the Bride of the Monster (Elsa Lanchester again) emerges. Alas, the Monster's tender efforts to connect with his new Mate are rewarded only by her revulsion and hoarse screams. "She hate me," he growls, "Just like others!" Wonderfully acted and directed, The Bride of Frankenstein is further enhanced by the vivid Franz Waxman musical score; even the film's occasional lapses in logic and continuity (it was trimmed from 90 to 75 minutes after the first preview) are oddly endearing. Director James Whale was memorably embodied by Ian McKellen in the Oscar-winning 1998 biopic Gods and Monsters. ~ Hal Erickson, All Movie Guide