Bess Flowers Movies

The premise is clichéd -- it's the usual tale of a pretty girl from the sticks trying to break into movies -- but this satire gives it a number of unexpected turns. In addition, just about every star in Hollywood -- not just those at Paramount, the releasing studio -- has a cameo at one point or another during the film's eight reels. Ironically, nearly all of the lead actors are unknowns (although George K. Arthur would become a noted character comedian). Angela Whitaker (Hope Brown) of Centreville is convinced she has a chance in Hollywood -- all her friends tell her so. So she heads West with her Uncle Joel (Luke Cosgrave) in tow. But Angela has no luck in Tinseltown, while her uncle starts landing roles left and right because of his curious image. Eventually the rest of the family, including Angela's sweetheart Lem Lefferts (Arthur), her grandmother (Ruby Lafayette), and her aunt (Eleanor Lawson) come to Hollywood. All Angela's relatives get movie work because they're character types. Finally a screenwriter tries to help Angela out, but Lem winds up landing a role instead. He becomes a star, which suits Angela just fine because she has married him. The couple have twins, and the babies -- not to mention the couple's pet parrot -- wind up in films, while Angela remains at home. The most notable cameo in this picture is Roscoe "Fatty" Arbuckle, who had been shunned in motion pictures since the 1921 scandal surrounding a Labor Day party that allegedly resulted in the death of starlet Virginia Rappe. Here he returns as a man standing in a casting line. When it's his turn to come up to the window, it is shut in his face and a "closed" sign put out. Unfortunately this gag turned out to be all too true; Arbuckle was not seen in front of a camera again until 1932. ~ Janiss Garza, All Movie Guide

Even minus the original musical score, this silent-film adaptation of the Broadway hit Irene is a delight. Colleen Moore stars as Irene O'Dare, an Irish colleen who comes to New York in search of a job. She lands a position at the fancy fashion salon owned by one Mme. Lucy, a male couturier campily portrayed by George K. Arthur. Becoming the establishment's top fashion model, Irene is a huge success, though it takes her a bit longer to find romantic happiness in the arms of wealthy Donald Marshall (Lloyd Hughes), thanks to the strenuous efforts by Donald's snooty mother (Ida Darling) to break up the relationship. The highlight of the film is a Technicolor fashion sequence, which remains a visual feast even though the colors have faded in most available prints. Irene was remade in 1940 with Anna Neagle. ~ Hal Erickson, All Movie Guide

The most interesting aspect of this Fred Thomson western is the supporting cast. Playing the Spanish heroine is a very young Bess Flowers, who, as every film buff knows, became Queen of the Hollywood Dress Extras. (Flowers is the handsome and beautifully coifed, grey-haired dowager seen in nearly every party scene from the 1930s to the 1950s.) Thomson's father is in the film played by veteran stage star Tyrone Power, whose son Tyrone, Jr. would become a leading matinee-idol of the 1930s and 1940s. And then there is the villain Tom Santschi, a tough-looking screen veteran whose terrifically staged brawl (or was it staged?) with William Farnum in The Spoilers (1914) became part of Hollywood lore. Hands Across the Border itself was a pleasant if unremarkable story of a millionaire's son whose infatuation with a beautiful below-the-border belle brings him on a collision course with a gang of drug smugglers. He masquerades as a bandit to infiltrate the gang but is discovered and captured along with the girl and her father (Clarence Geldert). Aided by Silver King the Wonder Horse, Thomson escapes to alert both the U.S. and Mexican armies. ~ Hans J. Wollstein, All Movie Guide

Laurel and Hardy want to slip out of the house and play poker. Their wives want them to stay home, so they make up a story about having to meet their "boss" at the Orpheum Theatre. On the way to the poker game, they run into two women who have lost a hat under an automobile. While they attempt to retrieve the lady's hat, a street-sprinkler soaks them with water. Soaking wet, they go to the girls' apartment while their clothes dry out, and while waiting, the girls flirt with them. Unfortunately, boxer "One-Round Kelly" is the boyfriend of one of the girls. He bursts in on the two couples and chases the boys from the apartment. Meanwhile, a fire has burned down the theatre that day, and Laurel and Hardy have a lot of explaining to do when they return home. While this film is only an average comedy, it is still worth a look. Laurel and Hardy's explanation of the "show" and why they didn't know about the fire, is priceless. ~ Bruce Calvert, All Movie Guide

The Ghost Talks was based on Badges, a theatrical comedy-melodrama by Max Marcin and Edward Hammond. Broadway expatriate Charles Eaton stars as Franklin Green, who by guess and by gosh manages to graduate at the head of his class in Private Detective School. For his first case, Eaton ventures into the traditional "old dark house," where a malevolent ghost is supposedly running amok. In true "Scooby Doo" fashion, our hero proves that the villain is of the Live Human variety, but not until the audience has been treated to an abundance of "scare" comedy. Helen Twelvetrees, who fared better in tear-stained soap operas, bravely barges her way through the role of the imperiled heroine, while additional comedy relief was provided by black performers Stepin Fetchit and Baby Mack (whose material, need we say it, was racist in the extreme). ~ Hal Erickson, All Movie Guide

Lightnin' is based on the 1918 stage play by Winchell Smith and Frank Bacon, in which Bacon (the father of director Lloyd Bacon) had starred for years on Broadway and "the road." Will Rogers steps into the leading role as "Lightnin'" Bill Jones, the slow-moving husband of Mary Jones (Louise Dresser). Mr. and Mrs. Jones are co-owners of a hotel built right on the borderline between California and Nevada, used as the temporary home of divorcing wives so that they may pretend to be in the "California" half of the hotel while establishing residency in the "Nevada" half. Lightnin' befriends lawyer John Marvin (Joel McCrea), at present residing in the California half to avoid arrest on a trumped-charge. When Lightnin' refuses to sell his share of the hotel to a gang of stock crooks headed by Raymond Thomas (Jason Robards Sr.), Mary is coerced into divorcing her husband so that she can sign over the deed herself. In the semi-serious courtroom finale, Lightnin' not only convinces Mary that she's still in love with him but also manages to clear John Marvin's name. Director Henry King clearly exercised no control over Will Rogers, whose incessant ad-libbing, amusing though it is, slows the film to a crawl. Still, Lightnin' proved to be just as successful as any other Rogers talkie vehicle, proving that audiences came to see the star and not the story. ~ Hal Erickson, All Movie Guide

A typical pre-code era comedy, Bachelor Apartment was the creation of its leading man, silent screen matinee-idol Lowell Sherman. He plays Wayne Carter, a Park Avenue roué, whose dalliances with a series of women are beginning to catch up with him. Enter a brunette and rather drab Irene Dunne searching for her wayward sister (Claudia Dell). Sherman falls like a ton of bricks for the no-nonsense and seemingly unresponsive Dunne, whom he hires as his executive secretary. For unexplained reasons, Dunne falls in love with her whimsical boss as well and after Sherman shows signs of shaping up, they embrace for a happy ending. Daring in its day, Bachelor Apartment is not really worth a second look except for a next-to-final glimpse of silent screen femme fatale Mae Murray. Playing Sherman's most ardent conquest -- who, as the suave playboy explains, "might commit a sin but never a faux pas" -- Murray has to be seen to be believed. Valiantly attempting to display her trademark bee-stung countenance while at the same time deliver a series of hoary lines, the still svelte Murray -- who is introduced to the strains of an ersatz Merry Widow Waltz lest we forgot -- offers an overripe performance that all but ended her screen career. Sherman used her once more -- in High Stakes, another frothy comedy -- but the aging Murray was obviously not talkie material. Bachelor Apartment offers a glimpse of yet another faded silent screen star, the mustachioed Norman Kerry of Phantom of the Opera fame, here playing the minor role of a theatrical wolf. Like Murray (and Lowell Sherman himself), Kerry's looks and mannerisms belonged to a bygone era. ~ Hans J. Wollstein, All Movie Guide

Norma Shearer stars in this pre-Code melodrama as Lisbeth Corbin, who is in love with Alan (Neil Hamilton), a globe-trotting newspaper reporter, but also strings along Steve (Robert Montgomery), a well-mannered local boy who is good friends with Lisbeth, even though she doesn't love him. When Alan is sent to Mexico to cover a story, love-struck Lisbeth goes with him, but when he's next sent to China, Alan leaves Lisbeth behind. Heartbroken, she heads for Europe, where she tries to forget Alan with a series of short-term love affairs. Try as she might, Lisebth can't forget Alan, but when she returns home, lonely and desperate, she finally agrees to marry Steve. Alan picks this moment to return, but just as she's thrown over Steve for her true love, Alan learns of Lisbeth's escapades in Europe and breaks off the engagement, sending her to the brink of suicide. Keep an eye peeled for an early appearance by Ray Milland as one of Lisbeth's suitors. ~ Mark Deming, All Movie Guide

A musical remake of The Marriage Circle (1924), One Hour with You stars Maurice Chevalier as a Parisian doctor and Jeanette MacDonald as his loving wife. Chevalier is scrupulously faithful, much to the chagrin of his lovely female patients. But when MacDonald's best friend Genevieve Tobin insists upon being treated by Dr. Chevalier, it looks to many of those concerned that Tobin may succeed where the other willing ladies failed. The misunderstandings and reconciliations of the plotline are playfully staged with deliberate artificiality by director Ernst Lubitsch: Characters speak in rhymed couplets, Parisian gendarmes issue orders to their minions to the beat of a ticking clock, and Chevalier regularly talks directly to the audience. One Hour With You is a tuneful confection which is just as refreshing today as it was sixty years ago. ~ Hal Erickson, All Movie Guide

Defense attorney Forrest Stanley insists upon hiring himself out to gangsters, much to the dismay of his wife Dorothy Revier. She walks out on Stanley, whereupon he goes into a personal and professional slump. Our hero is given a new lease on life when he adopts orphan Mickey McGuire (later known as Mickey Rooney), only to be plunged into the depths of despair again when the boy is killed in the crossfire of a mob shootout. Immediately switching gears, Stanley becomes a crusading prosecutor, sending his former criminal clients to the pen -- and wining back the love of Revier in the process. Sin's Payday is among the first films in which a criminal's recorded confession is entered into evidence -- and never mind the questionable circumstances through which the confession is obtained! ~ Hal Erickson, All Movie Guide

In this thriller, a young woman marries a dashing young man who, unbeknownst to her, is a jewel thief. After his latest job, he takes off and leaves her to take the rap. In court she is found guilty. She is riding a train en route to prison when the train crashes. Her identity is confused with that of a wealthy young man's fiancee. The two soon fall in love. They are later confronted by the real fiancee, her thieving husband, the fiancee's brother and the police. Somehow the girl is extricated from the mess with her name and reputation intact. ~ Sandra Brennan, All Movie Guide

Based on an idea by Will Rogers, the story concerns the efforts by the President of the United States to get the public's mind off the Depression. To this end, he appoints Broadway impresario Lawrence Cromwell (Warner Baxter) to the new cabinet position of "Secretary of Amusement." Wasting no time, Cromwell sets about to nationalize the entertainment industry, organizing singers, dancers, actors and other variety artists into batallion-like touring units. Cromwell is fought at every turn by a cartel of wealthy industrialists, who've been profiting from the Depression and have no desire to see America pull itself upward. Happily, every effort to bribe or cajole Cromwell into giving up his mission is thwarted and the Department of Amusement goes on to help the the country at a time when its citizens most needed it. Among the highlights are an energetic "revival-meeting" musical number by Aunt Jemima (Theresa Gardella), and 6-year-old Shirley Temple's rendition of "Baby Take a Bow." Originally released at 80 minutes, Stand Up and Cheer was edited to 69 minutes for reissue, then to 65 minutes (removing most of Stepin Fetchit's scenes) for television: it was this last version which was computer-colorized in 1987. ~ Hal Erickson, All Movie Guide

Hollywood Party was planned as a lavish, star-studded MGM musical titled Hollywood Revue of 1933. Under the less-than-sterling guidance of "kicked upstairs" MGM producer Harry Rapf, production dragged on interminably, using up the talents of five directors (none of whom were credited) and seven writers. The "all star" cast lineup slowly dwindled down to comparatively inexpensive contract players Jimmy Durante and Jack Pearl (radio's Baron Munchhausen) and a passel of non-MGM personalities. The final product wove a goofy story about The Great Schnarzan (Durante), a jungle-movie star whose films are suffering at the box office because his lions are anemic. Schnarzan schemes to purchase several healthy lions from Baron Munchhausen; to get the baron into a bargaining mood, Schnarzan throws a huge Hollywood party in Munchhausen's honor. Liondora (George Givot), Schnarzan's "hated rival", hopes to purchase the Baron's lions for himself, and crashes the party disguised as a Greek Baron. Also figuring into the plot are the members of the Klemp family (Charles Butterworth, Polly Moran and June Clyde), who are filthy rich and thus quite attractive to both Schnarzan and Liondora; poor-but-honest Eddie Quillan, who romances the Klemp's daughter; and Schnarzan's ex-girlfriend Lupe Velez, who shows up at the party in an astonishingly revealing gown for the express purpose of making trouble. In an amusing animated sequence courtesy of Walt Disney, Mickey Mouse introduces the Technicolor musical exploits of "The Hot Chocolate Soldiers." Shortly before the end, Stan Laurel and Oliver Hardy make a welcome appearance as a pair of lion-farm owners who wish to collect a debt from Baron Munchhausen. This segues into the classic egg-breaking sequence involving Stan, Ollie, and Lupe Velez. Now we've reached the 65 minute mark, with no logical ending in sight. Director Allan Dwan, brought into the project at the last minute, took a look at the existing footage and declared "It's a nightmare!" Inspired, Dwan directed a closing sequence which suggested that the whole plot had been dreamed by Jimmy Durante; Durante is wakened from his slumbers by his wife--played by Mrs. Jimmy Durante. Hollywood Party makes no sense at all, but it's a must for comedy lovers and 1930s film buffs. Don't miss that opening number, written by Rodgers and Hart and performed by Frances Williams and a chorus of barely dressed telephone operators; and keep an eye peeled for a lengthy uncredited appearance by the Three Stooges. ~ Hal Erickson, All Movie Guide