Mary Forbes Movies

The Trespasser was Gloria Swanson's first all-talking picture. All talk is right. Swanson plays a humble secretary who marries the son (Robert Ames) of a domineering millionaire (William Holden--no, not that William Holden). The father-in-law bullies Swanson into giving up his son; she agrees to step out of his life, proudly withholding the fact that she's about to become a mother. Later, Swanson enters her ex-husband's social class via an inheritance. Unfortunately, he's remarried to Kay Hammond, who is crippled and thus more needful of the man's love and comfort than self-reliant Swanson. Tearfully, Swanson gives up the man she loves, left only with her child and a bulging bank account. When Trespasser was remade by director Edmund Goulding as That Certain Woman with Bette Davis in 1937, a last-minute happy ending was tacked on--if one can call the death of wife number two a joyous event. As for the original film, Gloria Swanson proved (contrary to the popular belief engendered by Sunset Boulevard) that she could have been just as big a star in talkies as she'd been in silents (she even sings well); unfortunately her subsequent judgment in screenplay selection resulted in a string of flops. ~ Hal Erickson, All Movie Guide

The popular silent romantic team of Charles Farrell and Janet Gaynor made a successful all-talking, all-singing, all-dancing debut in Sunny Side Up. The story is old bromide about a poor girl who falls in love with a rich man, then tries to pass herself off as a woman of wealth. This being a 1929 Fox picture, the supporting cast includes the ineluctable dialect comedian El Brendel, along with squeaky-voiced soubrette Marjorie White. In his feature-film debut, 7-year-old Jackie Cooper shows up as a tenement kid, while Joe E. Brown does a guest bit as a grinning undertaker. The superb DeSylva-Brown-Henderson score includes "If I Had a Talking Picture of You," "Turn on the Heat" (a jaw-droppingly erotic number, in which the gyrations of the chorus girls causes a banana tree to blossom full out!), and the title song. ~ Hal Erickson, All Movie Guide

Ronald Colman plays the "black sheep" of a wealthy British family, sent to South Africa so that he'll be as far away from home as possible. Broke again, Colman auctions off his belongings and heads for London to the less-than-open arms of his father (Frederick Kerr). He begins to dally with a saucy actress (Myrna Loy), but soon his attentions shift to a young heiress (Loretta Young) engaged to a nobleman. The heiress manages to set Colman on the straight and narrow, so he renounces his wastrel ways and settles down--but not before breaking up the girl's upcoming wedding. Based on a play by Frederick Lonsdale, Devil to Pay is dated only in its subject matter; on a purely technical level, the film hardly betrays its age at all. ~ Hal Erickson, All Movie Guide

To date, this D.W. Griffith epic is the only talking-picture effort to encapsulate the entire life of Abraham Lincoln, from cradle to grave. The script, credited to Stephen Vincent Benet, manages to include all the familiar high points, including Lincoln's tragic romance with Ann Rutledge (Una Merkel, allegedly cast because of her resemblance to Griffith favorite Lillian Gish), his lawyer days in Illinois, his contentious marriage to Mary Todd (Kay Hammond), his heartbreaking decision to declare war upon the South, his pardoning of a condemned sentry during the Civil War, and his assassination at the hands of John Wilkes Booth (expansively portrayed by Ian Keith). This was D.W. Griffith's first talkie, and the master does his best with the somewhat pedantic dialogue sequences; but as always, Griffith's forte was spectacle and montage, as witness the cross-cut scenes of Yankees and Rebels marching off to war and the pulse-pounding ride of General Sheridan (Frank Campeau) through the Shenandoah Valley. Thanks to the wizardry of production designer William Cameron Menzies, many of the scenes appear far more elaborate than they really were; Menzies can also be credited with the unforgettable finale, as Honest Abe's Kentucky log cabin dissolves to the Lincoln Memorial. As Abraham Lincoln, Walter Huston is a tower of strength, making even the most florid of speeches sound human and credible; only during the protracted death scene of Ann Rutledge does Huston falter, and then the fault is as much Griffith's as his. Road-shown at nearly two hours (including a prologue showing slaves being brought to America), Abraham Lincoln was pared down to 97 minutes by United Artists, and in that length it proved a box-office success, boding well for D.W. Griffith's future in talkies (alas, it proved to be his next-to-last film; Griffith's final effort, The Struggle was a financial disaster). ~ Hal Erickson, All Movie Guide

Strictly Unconventional offers two subplots united by irony. British wife Elizabeth (Catherine Dale Owen), weary of her much older M.P. husband Clive (Lewis Stone), dreams of running off with her handsome Canadian lover Ted (Paul Cavanaugh). Hoping to vicariously experience her fantasy, Elizabeth invites her mother-in-law Lady Kitty (Alison Skipworth), who years earlier had stirred up a scandal by leaving her husband in favor of the dashing Lord Proteus (Ernest Torrence), for a weekend party. Our heroine is sorely disillusioned when Lady Kitty turns out to be a superficial old windbag desperately trying to recapture her past while Lord Proteus is likewise -- old, fat, and fatuous. Astonishingly, Elizabeth fails to profit by this example and runs off with her lover all the same -- but only after she is convinced that Ted is not and never will be a Lord Proteus. Strictly Unconventional is a cleaned-up adaptation of Somerset Maugham's The Circle. ~ Hal Erickson, All Movie Guide

A WWI American nurse stationed in London (Constance Bennett) meets a handsome flier and finds only sorrow in this three-hanky melodrama. She gets pregnant; then the flier disappears during a mission and she must bear her child alone. Time passes and eventually, she reluctantly agrees to marry a disabled British officer. Not long afterward, her true love reappears (not dead, after all) and many complications ensue. ~ Sandra Brennan, All Movie Guide

This World War I romance stars Douglas Fairbanks Jr. and Anthony Bushell as two British officers who happen to be brothers. Both men fall for the same girl (Rose Hobart) while on furlough, resulting in dissention at the Front. What might have been a festival of cliches emerges as a superior drama, thanks to the clever (but unobtrusive) direction of Allan Dwan. In one of his first truly worthwhile roles, Douglas Fairbanks Jr. is utterly convincing as a young Briton who must balance duty with desire; Anthony Bashell is far less believable, but can be forgiven his excesses since he later retired from acting to become a director. Previously produced as a silent film, Chances was based on a story by A. Hamilton Gibbs. ~ Hal Erickson, All Movie Guide

Working Girls is a slight, dated, but still entertaining comedy, typical of its era. Louise Adams (Frances Dee) and her friend (Claire Dodd) travel to the city in order to get jobs and hopefully find husbands. There they face the usual complications, but the women persevere and all ends well. The film is notable because its director Dorothy Arzner, was one of the few American women directors of the studio era. Arzner began her career as script-girl where she progressed to film editor. Her editing so impressed Paramount that Arzner was allowed to direct. She went on to have a long career and was the first woman member of the Directors Guild of America. ~ Linda Rasmussen, All Movie Guide

This film version of the Jack DeLeon-Jack Celestin play Silent Witness stars Lionel Atwill in his original stage role of Sir Austin Howard. When his son Anthony (Bramwell Fletcher) strangles his mistress Nora Selmer (Greta Niesen) in a fit of jealous rage, Sir Austin gallantly takes the blame, secure in the belief that he will not only be able to clear himself in court, but keep his son's name out of the case. Alas, Sir Austin's strategy blows up in his face when it is revealed that the murder victim held onto life long enough to serve as the "silent witness" to her own demise. All of this is offered in flashback form, to excellent effect. ~ Hal Erickson, All Movie Guide

Stepping Sisters was a variation on Fox Studio's favorite plots, "three girls on the make," the difference being that the three ladies depicted herein were well past the "girl" stage. Louise Dresser, Minna Gombell, and Jobyna Howland are cast as Mrs. Ramsey, Rosie La Marr, and Lady Chetworth-Lynde, who try to keep their past lives as burlesque dancers a secret as they hobnob with High Society. But blood will tell, and soon all three ladies have reverted to their old bump-and-grind routines, much to the dismay of their sophisticated companions. Somehow it was inevitable that at least one of the heroines would end up with a pie in her face; in this instance, its is Lady Chetworth-Lynde, the most pretentious of the trio, who is the recipient of the flying custard. A dash of drama is thrown in the stew when it appears that the impending marriage of Mrs. Ramsey's daughter Norma (Barbara Weeks) will be endangered by the revelation of her mom's show-biz past (it isn't, as it turns out). Stepping Sisters certainly sounds fascinating, and one hopes that someday this long-lost film will be found by some enterprising archivist or other. ~ Hal Erickson, All Movie Guide

Jean Harlow is the "bombshell" of the title, a popular movie actress named Lola. Though she seemingly has everything a girl could possibly want, Lola is fed up with her sponging relatives, her "work til you drop" studio, and the nonsensical publicity campaigns conducted by press agent Lee Tracy. She tries to escape Hollywood by marrying a titled foreign nobleman, but Tracy has the poor guy arrested as an illegal alien. Finally Lola finds what she thinks is perfect love in the arms of aristocratic Franchot Tone, but she renounces Tone when his snooty father C. Aubrey Smith looks down his nose at Lola and her profession. Upon discovering that Tone and his entire family were actors hired by Tracy, Lola goes ballistic--until she realizes that Tracy, for all his bluff and chicanery, is the man who truly loves her. Allegedly based on the career of Clara Bow (who, like Lola, had a parasitic family and a duplicitous private secretary), Bombshell is a prime example of Jean Harlow at her comic best. So as not to mislead audiences into thinking this was a war picture, MGM retitled the film Blonde Bombshell for its initial run. ~ Hal Erickson, All Movie Guide

In this drama, a woman goes mad with grief after her lover dumps her. Many years pass and the woman remains embittered and vengeful against the cad. When she learns that he has become an officer at her local bank, she withdraws her fortune from it. She really goes over the edge when her son falls in love with her ex-lover's daughter. Fortunately, in the end, the woman changes her mind and mends her ways. ~ Sandra Brennan, All Movie Guide