Edward Arnold Movies

Lillian Russell is the sanitized musical biopic of the legendary (and much-married) 19th century musical comedy star. Discovered in 1880 by bandleader Tony Pastor (Leo Carrillo), Lillian Russell (Alice Faye) wastes no time rising to fame and fortune on the Broadway stage. Along the way, she curries the favor of such eligible bachelors as newspaperman Alexander Moore (Henry Fonda), composer Edward Solomon (Don Ameche), and railroad tycoon Diamond Jim Brady (Edward Arnold). She marries the first two, and has a high old time (albeit chastely) with the third. The story ends with Russell's retirement in 1912, and her reunion with the one true love of her life. The film's hands-down highlight is a timeworn but classic routine involving those two Broadway comedy giants Joe Weber and Lew Fields, both of whom had appeared on-stage with the real Lillian Russell. ~ Hal Erickson, All Movie Guide

Originally designed for exhibition at the 1939 World's Fair, Land of Liberty is a 137-minute compendium of filmclips from past American historical epics. The project was sponsored by the Motion Picture Producers & Distributors of America, Inc. and supervised by Cecil B. DeMille, who also edited the film with the assistance of his crack Paramount production staff. The narration was written by old DeMille hands Jeannie MacPherson and Jesse Lasky Jr. and spoken by a talented team of uncredited announcers (one of whom sounded suspiciously like old C. B. himself). Clips from such Hollywood productions as America (1924), Abraham Lincoln (1930), Alexander Hamilton (1931), Show Boat (1936), Man of Conquest (1939) and DeMille's own The Plainsman (1936), The Buccaneer (1938) and Union Pacific (1939) are woven together into a chronological continuity, tracing American history from the Revolutionary War to the "present," which is largely represented by newsreel footage of President Roosevelt, the TVA project, and other current personalities and events. In later years, Land of Liberty was redistributed on the classroom circuit, with new footage added from historical dramas of the 1940s and 1950s. ~ Hal Erickson, All Movie Guide

Robert E. Sherwood's Pulitzer Prize-winning play Idiot's Delight starred Alfred Lunt and Lynn Fontanne on Broadway. Set in a lavish alpine hotel bordering an Italian air base, the story throws together several disparate people, each in his or her own way affected by the World War that threatens to erupt at a moment's notice. The only person who doesn't seem to have a political or economic stake in world affairs is Harry Van, a two-bit American entertainer who is stranded in the hotel with his travelling all-girl troupe, "Les Blondes." Harry is convinced that the alluring Irene, the foreign-accented "travelling companion" of munitions tycoon Achille Weber, is actually an American girl with whom he'd had a one-night stand years earlier, but Irene laughs off his insinuations. Eventually, Irene turns to Harry for comfort when Weber proves too disgustingly warmongering for her tastes. When war breaks out and the hotel is targeted for bombing, Harry makes sure that everyone gets to safety; he himself stays behind with Irene, with whom he has fallen in love. The two sing a hymn as the hotel is blown to oblivion. When Idiot's Delight was filmed in 1939, Norma Shearer did her best Lynn Fontanne imitation as Irene, while Clark Gable remained Clark Gable in his interpretation of Harry Van (his song-and-dance rendition of "Puttin' on the Ritz" is a classic of sneering insouciance). The film underwent an extensive "MGM-izing": while the pre-European affair between Harry and Irene is never dramatized in the play, the film shows Harry and Irene commiserating in a long prologue set in a seedy vaudeville house--and, in keeping with censorship restrictions, it is made abundantly clear that, while Harry befriends Irene, he does not sleep with her. The munitions manufacturer, here played by Edward Arnold, is depicted as an aberration, and not representative of "honest" business moguls (many of whom were close personal chums of MGM head Louis B. Mayer). And, while the ending of the play does not tell us whether or not Harry and Irene survive the bombing, the film permits the lovers a sun-streamed happy ending. ~ Hal Erickson, All Movie Guide

Moss Hart and George S. Kaufman's whimsical Pulitzer Prize-winning Broadway play You Can't Take It With You was transformed into a paean to populism by director Frank Capra and screenwriter Robert Riskin. This is the story of the zany Sycamore household, presided over by Grandpa Vanderhof (Lionel Barrymore), a former businessman who has turned his back on commerce to enjoy life. At the Sycamores', everyone does just what he or she pleases. Penny Sycamore (Spring Byington), Grandpa's daughter, has become a novelist because someone delivered a typewriter to her home by mistake. Penny's husband makes firecrackers in his basement with the help of Mr. DePinna (Halliwell Hobbes), an iceman who showed up at the Sycamore doorstep one day and never left. Their daughter, Essie (Ann Miller), imagines that she's a prima ballerina, even though her dour teacher, Boris (Mischa Auer), assesses her work with, "Confidentially, it steenks!" Essie's husband, Ed (Dub Taylor), who'd rather play a xylophone than work, spends his free time selling Essie's candy, wrapping each package in paper from a used printing press that dispenses anarchistic slogans. The one normal member of the household is Alice Sycamore (Jean Arthur), in love with wealthy Tony Kirby (James Stewart).

Naturally, when the stuffy, aristocratic Kirbys come to the Sycamores' for dinner, the event is a disaster, capped with the arrest of everyone in the household. Hart and Kaufman's third act found the previously judgmental Kirby softening his attitude toward the freewheeling Sycamore clan, admitting that he's never had so much fun in his life. Screenwriter Riskin altered the focus of the play by throwing out the third act and concentrating upon Tony Kirby's father, Kirby Sr., who as played by Edward Arnold is transformed from a stock stuffed shirt into a ruthless, grasping tycoon, eager to buy up every house on the Sycamores' block to make room for a munitions plant. The film thus became the story of Kirby's regeneration at the hands of the carefree Sycamores. Enough of the play's screwball elements are retained to compensate for Riskin's speechifying and plot distortions (though the softening of one of the play's vital ingredients, Grandpa's refusal to pay his income tax, borders on the sacrilegious). You Can't Take It With You earned several Academy Awards, including Best Picture and Best Director (Capra's third Oscar). ~ Hal Erickson, All Movie Guide

Allegedly based on two factual works, Bouck White's The Book of Daniel Drew and Matthew Josephson's The Robber Barons, RKO's The Toast of New York is a largely fanciful account of the career of 1870s financier "Jubilee Jim" Fisk. As played by Edward Arnold in his usual "tycoon" mode, Fisk was a likable scoundrel who finagled his way into the upper rungs of Wall Street as much for fun as for profit. The film conveniently ignores Fisk's involvement with the infamous Tweed Ring, and skims over his complicity in 1869's "Black Friday," one of the most disastrous events in American economic history. We are also offered a sanitized version of Fisk's notorious mistress Josie Mansfield, who as played by Frances Farmer is an apple-cheeked lass who regards Fisk only as a loyal friend. Cary Grant is along for the ride as "Nick Boyd," a thinly disguised version of Fisk's actual partner in crime Ned Stokes. Too costly to post a profit, Toast of New York is nonetheless fine non-think entertainment, kept alive by a superb supporting cast ranging from Donald Meek as Daniel Drew and Clarence Kolb as Cornelius Vanderbilt to such bit players as Laurel & Hardy perennial James Finlayson, who plays the inventor of a self-tipping hat! ~ Hal Erickson, All Movie Guide

Financier J.B. Ball (Edward Arnold) -- known in the press as "the Bull of Broad Street" -- may be one of the wealthiest investment bankers in the country, but he also knows the value of a dollar. And when his wife (Mary Nash) spends 50,000 of them on a sable coat, he is driven into such a fury in the ensuing argument on the roof of their Fifth Avenue townhouse, that he throws the coat into the street -- where it promptly lands on the head of Mary Smith (Jean Arthur), a clerk-typist on her way to work, riding on the upper deck of a double-decker bus, ruining her hat in the process. She jumps off the bus to try to return the coat, but Ball insists that she keep it. What she really needs, however, is not a 50,000-dollar sable coat so much as a ride to work -- as she doesn't even have a dime for bus fare -- and perhaps a new hat. Ball obliges, taking her to one of the top clothing stores in New York, buying her an expensive fur hat to go with the coat, and then dropping her at work in his limo. Her superiors, seeing her decked out in a sable coat and a new hat, and getting out of the chauffeured car, conclude that Mary is a kept woman, and, therefore, unfit to work for the boys magazine where she is employed, and they fire her. Now out of work and virtually broke, she seems to have become a victim of random fate, but suddenly the scales start to tip the other way from the very same misunderstanding that got her fired. Having been seen in the company of J.B. Ball -- whose name she didn't even get -- she is rumored to be his mistress; the prissy clothing store proprietor (Franklin Pangborn) spreads this story, and that turns Mary into the object of attention for Mr. Louis Louis (Luis Alberni), the owner of a failed luxury hotel on which Ball's bank holds the mortgage, and is about to foreclose. For reasons that she can't begin to understand, since there is nothing going on between her and J.B. Ball (whose name she doesn't even know), or between her and anyone, Louis moves her into the most luxurious suite in his hotel for a dollar a day, asking her only to inform "that certain someone" of how she loves living there. Mary has no idea of who "that certain someone" is, or what Louis is talking about, but she needs a place to live, and Louis is insistent. She still needs to eat, and, while trying to get a meal at the automat, she crosses paths with a handsome, well-meaning, but inept waiter (Ray Milland), who gets fired for helping her. She takes him into her suite so he has a place to stay, and the two fall in love in the course of finding out about each other. She knows that he is John Ball Jr., but doesn't realize that he is the son of J.B. Ball, trying to make it on his own, nor does she yet realize who J.B. Ball is, in terms of being the man who gave her the coat and the new hat, or one of the wealthiest men in the country. But after the elder Ball spends an innocent night at the Hotel Louis, a gossip columnist named "Wallace Whistling" (William Demarest) prints that he is keeping a woman at the hotel, and suddenly the Hotel Louis, perceived as a fashionable playground for the upper-crust, is filled with guests. This multiple case of mistaken identity plunges through two or three new layers, eventually bringing about an impending stock market crash to rival 1929, before Mary discovers who her would-be benefactor and her would-be fiancé are. She bails them out of the jam that they're in, also restoring the Ball's marriage, her own reputation, and her romance with Ball's son in the process. ~ Bruce Eder, All Movie Guide

Universal plunged into the clutches of its creditors with its expensive fiasco Sutter's Gold. Edward Arnold plays Swiss immigrant Johann Sutter, who seeks his fortune in the California of the 1830s. Against all odds, Sutter builds up a huge land empire, only to watch its explode when gold is discovered at Sutter's mill in 1848. Prospectors, speculators and claim-jumpers strip Sutter of his hard-earned riches, and he is forced to retire on a minimal government pension. While the film ignores the dicier facts about the real Johann Sutter, who was as much confidence trickster and philanderer as he was visionary, and while history is distorted to the point that Sutter's Fort is subject to an Alamo-style Mexican raid, there is nothing really wrong with this on an entertainment level. But it went way over budget and was too downbeat a tale to score with a depression audience looking for optimistic answers to its own financial problems. The failure was softened somewhat by the success of Universal's subsequent Show Boat, but it was too late for the studio's Carl Laemmle regime, which would be ousted by the end of 1936. That same year, incidentally, a German film about Johann Sutter, The Kaiser of California, was made, with Hans Albers in the lead. ~ Hal Erickson, All Movie Guide

Set in the woodlands of Wisconsin, Come and Get It stars Edward Arnold as a logger-turned-lumber tycoon. In his rise to the top, Arnold loses out on a chance for lasting happiness by spurning earthy dance hall girl (Frances Farmer), who marries his best pal (Walter Brennan) on the rebound. Marrying for position rather than love, Arnold becomes a society leader in Milwaukee. His son (Joel McCrea) falls in love with the daughter of Arnold's first love (Frances Farmer plays both mother and daughter). Himself smitten by the daughter, Arnold battles with his son over the girl's affection, only to be shocked back into his senses when the girl reprimands his son, "Don't hit him! He's an old man!" Based on a novel by Edna Ferber, Come & Get It carries two directorial credits: William Wyler was dismissed early on by producer Sam Goldwyn, and when Howard Hawks took over, it was on the proviso that Wyler be given co-directing billing. For his performance as Edward Arnold's Scandinavian cohort, Walter Brennan won the first-ever "best supporting actor" Oscar. ~ Hal Erickson, All Movie Guide

Adapted from one of Dashiell Hammett's best novels, The Glass Key is a lively and straightforward melodrama of political corruption and urban intrigue. George Raft plays Ed Beaumont, the right-hand man to genial ward heeler Paul Madvig (Edward Arnold), who wants to clean up his political act. On the eve of a major election, Madvig is implicated in a murder, and it's up to Beaumont to help him out. Intimately involved in the case is Janet Henry (Claire Dodd), the sister of the murdered man and the daughter of "above reproach" Senator Henry (Charles Richman). Though no babe-in-the-woods, Beaumont is in for quite a few disillusionments as he pursues his investigation, though he does rather better romantically than the redoubtable Madvig. The Glass Key was remade (and improved) in 1942, with Alan Ladd, Veronica Lake and Brian Donlevy; neither version, however, has as much bite and vitriol as the Hammett original. ~ Hal Erickson, All Movie Guide

In this romantic drama a woman with a scandalous past tells all in an autobiography. It seems the woman, an artist, received special favors from a politician in exchange for a few favors from her. The pushy magazine editor who tries to convince her to write her memoirs, despises everything she stands for, yet in the end cannot help falling in love with her. ~ Sandra Brennan, All Movie Guide

Released generally as Cardinal Richelieu, this George Arliss vehicle was based on the popular 19th-century blank-verse play by Lord Edward Bulwer-Lytton. Downplaying the more villainous aspects of the character, Arliss portrays Richelieu as a dry-witted foxy-grandpa type, manipulating the well-meaning but often ineffectual French monarch Louis XIII (Edward Arnold) and cleverly outmaneuvering his scurrilous enemies, especially Louis' power-hungry brother Gaston (Francis Lister). Richelieu even finds time to smooth the romantic path of the young lovers, his young ward Lenore (Maureen O'Sullivan) and handsome Andre de Pons (Cesar Romero) -- though he does this mainly to suit his own political and ecumenical purposes. Highlights include the famous scene in which the wily Richelieu defeats his foes by threatening them with eternal damnation! Richelieu was George Arliss's last American film; henceforth, he would appear only in British productions. ~ Hal Erickson, All Movie Guide

MGM's Sadie McKee is a superb example of how the "committee" system of moviemaking in the 1930s could sometimes yield unexpected delights. It all begins when Sadie McKee (Joan Crawford) is brought to big bad old New York by glib vaudevillian Tommy (Gene Raymond), only to be unceremoniously dumped in favor of actress Dolly (Esther Ralston). Cast adrift, our Sadie lands a nightclub job, where she meets genially intoxicated millionaire Brennan (Edward Arnold). Accepting his drunken marriage proposal, Sadie must endure the slings and arrows of Brennan's friends and family, who consider her a gold-digger. Meanwhile, Sadie's former boss Michael (Franchot Tone), the one true love of her life, waits and waits and waits to see what's really on the girl's mind! And as a bonus, this is the film that introduced the peppy ditty "All I Do Is Dream of You". The labyrinth plotline of Sadie McKee is proof enough that more than one screenwriter had a hand in its creation: but instead of chaos, the film is irresistibly watchable, full of unexpected plot twists and marvelous little surprises. ~ Hal Erickson, All Movie Guide