Pat Flaherty Movies

Virtually a textbook example of Howard Hawks' "macho" mode, Only Angels Have Wings takes place high in the Peruvian Andes. Cary Grant heads a ramshackle airmail and freight service, forced to fly in the most perilous of weather conditions to the most treacherous of destinations. Facing death on a near-hourly basis, Grant and his flyers have adopted a casual, all-in-day's-work attitude towards mortality. If a pilot cracks up and dies, it's simply because he didn't have what it took, and that's that. Stranded showgirl Jean Arthur can't stand this cavalier attitude at first, but before long she becomes, in true Hawksian fashion, "one of the guys". Complicating the story is the presence of Richard Barthelmess, who has been persona non grata with the other pilots ever since his carelessness cost the life of one of their number. In addition to a surfeit of guilt, Barthelmess is saddled with a faithless wife, played by Rita Hayworth in her first important A-picture role. Hayworth makes a play for Grant, but he spurns her, finally realizing that, in spite of himself, he's in love with Arthur. Grant himself is riddled with guilt when near-blind pilot Thomas Mitchell insists upon taking on one final flight. Having lost his best friend, Grant drops his hard-bitten shell, and for the first time opens himself up emotionally to Arthur-which of course leads to a nail-biting climax wherein Arthur suffers mightily as Grant faces certain death. Scripted by Jules Furthman from a story by Hawks, Only Angels Have Wings is a treasure trove of terse, pithy dialogue: our favorite scene occurs when, upon discovering that he's about to die, Thomas Mitchell says he's often wondered how he'd react to imminent death-and, now that death is but a few moments away, he'd rather that no one else be around to witness his reaction. Though sometimes laid low by obvious miniatures, the aerial scenes in Only Angels Have Wings are by and large first-rate, earning a first-ever "best special effects" Oscar nomination for Roy Davidson and Edwin C. Hahn. ~ Hal Erickson, All Movie Guide

There's That Woman Again was the second and last entry in Columbia's own spin on MGM's "Thin Man" series. Virginia Bruce and Melvyn Douglas star as Sally and Bill Reardon, husband-and-wife private eyes (Bruce took over from Joan Blondell, who costarred with Douglas in 1938's There's Always a Woman). This time around, the Reardons investigate a series of jewel robberies which lead to a brace of murders. At times the comedy threatens to overwhelm the mystery angle, but rest assured that Bill Reardon will have collared the guilty party (or, in this case, guilty parties) a few minutes before closing. In emulation of MGM's "Thin Man" art direction, the leading characters in There's That Woman Again live in a lavishly furnished apartment roughly the size of Rhode Island. ~ Hal Erickson, All Movie Guide

Among the best-known of Republic's "B" pictures of the late 1930s, Hollywood Stadium Mystery is a neat and satisfying whodunit with very little "waste" footage. Neil Hamilton is his usual stalwart self as District Attorney Bill Devons, who tries to solve a murder that was committed in full view of hundreds of boxing fans at Legion Stadium. The victim was a contender for the championship, and there are no end of suspects to choose from. Complicating matters is the well-meaning but annoying interference of Polly Ward (Evelyn Venable), a murder-mystery writer who fancies herself a super sleuth. Radio personality Jimmy Wallington is appropriately cast as a glib sports commentator, while perennial cowboy sidekick Smiley Burnette shows up to offer a series of automobile imitations! Hollywood Stadium Mystery was written by Stuart Palmer, best known for his "Hildegarde Withers" stories. ~ Hal Erickson, All Movie Guide

Given the talent involved, The Joy of Living should have been far better than it is. Irene Dunne plays Maggie, a popular musical-comedy star saddled with a possessive, spendthrift family. Maggie would like to leave the house once in a while and experience "real life," but her parents (Alice Brady, Guy Kibbee), worried that they'll lose their meal ticket, refuse to allow her to do so. The Prince Charming who rescues Maggie from her folks is ship-owner Dan (Douglas Fairbanks Jr.) As a bonus, the footloose and fancy-free Dan teaches the repressed Maggie that "it's fun to be foolish." Apparently director Tay Garnett couldn't keep the production under control, and the cost ballooned to a then-staggering $1.1 million, resulting in a huge loss for RKO Radio. Some of the film's brighter moments are provided by Lucille Ball, Billy Gilbert, Jean Dixon and Franklin Pangborn, who like Dunne and Fairbanks all deserved funnier material than this. ~ Hal Erickson, All Movie Guide

Judith Allen stars as Telephone Operator Helen in this Monogram actioner. Most of the story is built around newsreel footage of the recent Ohio and Tennessee Valley floods. As telephone linemen Red (Grant Withers) and Shorty (Warren Hymer) race against time to hook up phone wires to a huge dam, the storm clouds gather and the weather gets really rough. Even so, Red and Shorty pause every so often to romance local telephone gals Helen and Dottie (Alice White). When the inevitable flood arrives, Helen's courage and stamina during the crisis leaves a lasting impression on Red, who gives up his minor flirtations and proposes marriage. Telephone Operator was one of several comeback attempts for onetime silent-screen favorite Alice White, who was still trying to recapture her former glory as late as 1948's Flamingo Road. ~ Hal Erickson, All Movie Guide

An earnest, honest newspaper sports editor single-handedly launches a campaign to clean up the shadowy, crooked world of professional prizefighting in this drama. He focuses most of his energy on one shady promoter and proves his point by easily punching out the lights of the promoter's "champ." The fallen fighter's daughter is terribly upset with the ethical editor until she finds herself falling in love with earnest fellow. ~ Sandra Brennan, All Movie Guide

A Day at the Races was the Marx Brothers' follow-up to their incomparable A Night at the Opera. Groucho Marx is cast as Hugo Z. Hackenbush, a veterinarian who passes himself off as a human doctor when summoned by wealthy hypochondriac Emily Upjohn (Margaret Dumont) to take over the financially strapped Standish Sanitarium. Chico Marx plays the sanitarium's general factotum, who works without pay because he has a soft spot for its owner, lovely Judy Standish (Maureen O'Sullivan). Harpo Marx portrays a jockey at the local racetrack, constantly bullied by the evil Morgan (Douglass Dumbrille), who will take over the sanitarium if Judy can't pay its debts. After several side-splitting routines--Chico selling Groucho tips on the races, Chico and Harpo rescuing Groucho from the clutches of femme fatale Esther Muir, all three Marxes conducting a lunatic "examination" of Margaret Dumont--the fate of the sanitarium rests on a Big Race involving Hi-Hat, a horse belonging to the film's nominal hero, Allan Jones. Virtually everything that worked in "Opera" is trotted out again for "Races", including a hectic slapstick finale wherein the Marxes lay waste to a public event. What is missing here is inspiration; perhaps this is due to the fact that MGM producer Irving Thalberg, whose input was so essential to the success of "Opera", died during the filming of "Races". Even so, Day at the Races made more money than any other previous Marx Brothers film--the result being that MGM, in the spirit of "they loved it once", would continue recycling Races' best bits for the studio's next three Marx vehicles. ~ Hal Erickson, All Movie Guide

With the considerable input of ex-Navy officer Frank Wead (who wrote the script) and technical adviser Cmdr. G. W. D. Dashielle, Submarine D-1 is far more realistic than the usual run of maritime melodramas. Pat O'Brien and Wayne Morris star as Butch Rogers and Sock McGillis, old submarine hands stationed in Panama. On land, Butch and Sock battle over pretty Ann Sawyer (Doris Weston). At sea and underwater, however, our two heroes are virtually inseparable. The documentary-style direction of Lloyd Bacon serves to heighten suspense when, during war games, Submarine D-1 is disabled deep, deep below the surface, endangering the lives of all on board. Ronald Reagan originally had a sizeable supporting role in this heady combination of laughs, thrills, and romance, but Reagan was cut from the final release print (though he still received billing in the film's pressbook). ~ Hal Erickson, All Movie Guide

A Star is Born came into being when producer David O. Selznick decided to tell a "true behind-the-scenes" story of Hollywood. The truth, of course, was filtered a bit for box-office purposes, although Selznick and an army of screenwriters based much of their script on actual people and events. Janet Gaynor stars as Esther Blodgett, the small-town girl who dreams of Hollywood stardom, a role later played by both Judy Garland and Barbra Streisand in the 1954 and 1976 remakes. Jeered at by most of her family, Esther finds an ally in her crusty old grandma (May Robson), who admires the girl's "pioneer spirit" and bankrolls Esther's trip to Tinseltown. On arrival, Esther heads straight to Central Casting, where a world-weary receptionist (Peggy Wood), trying to let the girl down gently, tells her that her chances for stardom are about one in a thousand. "Maybe I'll be that one!" replies Esther defiantly. Months pass: through the intervention of her best friend, assistant director Danny McGuire (Andy Devine), Esther gets a waitressing job at an upscale Hollywood party. Her efforts to "audition" for the guests are met with quizzical stares, but she manages to impress Norman Maine (Fredric March), the alcoholic matinee idol later played by James Mason and Kris Kristofferson. Esther gets her first big break in Norman's next picture and a marriage proposal from the smitten Mr. Maine. It's a hit, but as Esther (now named Vicki)'s star ascends, Norman's popularity plummets due to a string of lousy pictures and an ongoing alcohol problem. The film won Academy Awards for director William Wellman and Robert Carson in the "original story" category and for W. Howard Greene's glistening Technicolor cinematography. ~ Hal Erickson, All Movie Guide

The comedy team of Bert Wheeler and Robert Woolsey are atypically cast as bickering "friendly enemies" in On Again-Off Again. Based on the old stage farce A Pair of Sixes (previously filmed in 1930 as Queen High), the film stars the comedians as Hobbs and Horton, co-owners of a profitable pill manufacturing concern. Forever at each other's throats, the partners are in danger of losing their business thanks to their incessant squabbling. In desperation, their attorney George Dilwig (Russell Hicks) suggests that Hobbs and Horton solve everything with a wrestling match: the loser must agree to become the valet of the winner for a period of one year -- and must also pay a hundred-dollar fine every time he refuses to do the winner's bidding. By a fluke, Horton wins the match, whereupon Hobbs is compelled to wait on him hand and foot. Humiliated, Hobbs refuses to tell his fiancee Florence (Marjorie Lord) about the arrangement and ships her off to Florida, whereupon Horton, hoping to force Hobbs to break the agreement and thus forfeit his share of the business, spreads rumors that Hobbs is fooling around with Mrs. Horton (Esther Muir), then invites Florence to a party at his mansion. Hobbs gets even by dismissing all the servants and hiring a passel of low-lifes (Patricia Wilder, Pat Flaherty et.al.) as temporary help. The feud comes to a head when crooked salesman Toler (George Meeker) tries to convince both Horton and Hobbs to invest in a questionable business scheme, leading to a nocturnal slapstick chase through the Horton estate. Never before had Wheeler and Woolsey been involved in so complicated a plotline; indeed, both comedians seem positively winded at the end of the film. Despite all that's going on, there's still time for a couple of engaging musical numbers, including the ironic opener "One Happy Family" and Bert Wheeler's re-creation of his classic "crying while eating" vaudeville routine. Opinions are divided on On Again-Off Again: Some fans consider it the worst of Wheeler and Woolsey's features, while others regard it as a welcome step up from their previous mediocrities Silly Billies and Mummy's Boys. ~ Hal Erickson, All Movie Guide

The 1936 comedy-mystery The Princess Comes Across might well have been inspired by a real-life incident during the silent-movie era, in which a crafty San Francisco stenographer hoodwinked the Hollywood elite into believing that she was a Spanish princess. Carole Lombard stars as an alluring Swedish beauty who travels under the name of Princess Olga. Everyone whom she meets en route to America on the steamship Mammoth bows and scrapes to the Princess, while Hollywood anxiously awaits her arrival to star her in a big-budget film. Only the ship's bandleader, King Mantell (Fred MacMurray), refuses to defer to Olga, sensing that she may not be all she claims. Mantell's instincts are right on target: the "Princess" is a brass-nickel phony, a Brooklyn girl named Wanda Nash who has cooked up her royal guise with drama coach Gertrude (Alison Skipworth) as a publicity stunt to crash into movies. Unfortunately, a weaselly blackmailer Darcy (Porter Hall) gloms onto Wanda's true identity and offers to keep quiet in exchange for a huge cash settlment. At the same time, Darcy is attempting to shake down several other passengers on the Mammoth, including King Mantell. Inevitably, Darcy is found murdered in the "Princess"'s stateroom, and Wanda finds herself one of several likely suspects, among them Mantell. A quintet of international detectives, travelling to a convention in America, sets out to solve the mystery, which becomes even more mysterious when one of the detectives also turns up dead. Taking matters in his own hands, Mantell vows to clear Wanda's name, and in the course of things he realizes that he's madly in love with her--but will Wanda give up her hoax, and her future showbiz career, for Mantell's sake? Among the many highlights in this engagingly daffy film is Fred MacMurray's rendition of the enchantingly forgettable song "My Concertina." ~ Hal Erickson, All Movie Guide

One of the landmark "screwball" comedies of the 1930s, My Man Godfrey offers the radiant Carole Lombard in her definitive performance as flighty young heiress Irene Bullock, who on a society scavenger hunt stumbles on Godfrey (William Powell), an erudite hobo residing in the city dump. Godfrey becomes the family's butler, much to the dismay of Irene's father Alexander (Eugene Pallette), who thinks his household is crazy enough without another apparent lunatic under his roof. Halfway through the film, we discover that Godfrey isn't a penniless bum at all, but the scion of a wealthy Boston family. Having been burned by an unhappy romance, Godfrey dropped out of life, taking up residence in the dump. Here his faith in humanity was restored by his fellow indigents, who managed to survive and remain optimistic despite the worst deprivations. Meanwhile, however, he wants to straighten out the Bullock family, who he feels are a basically decent bunch beneath all their pretensions and eccentricities -- and along the way, of course, Irene determines that Godfrey will be her husband. While Godfrey's ultimate "solution" to the exigencies of the Depression seems more of a placebo, My Man Godfrey is all in all a totally satisfying jolt of 1930s-style wish fulfillment. ~ Hal Erickson, All Movie Guide