Eddie Foy, Jr. Movies

Twice during the mid-1970s, Andy Griffith unsuccessfully attempted to launch a TV detective series titled Abel Marsh. The first pilot film was The Girl in the Empty Grave; the second was The Deadly Game. Griffith once again stars as resort-town sheriff Abel Marsh, this time wrestling with a sinister conspiracy involving a dangerous chemical spill. Lane Slate produced, directed and wrote the film, while Griffith's longtime manager Richard O. Linke functioned as executive producer. Deadly Game was first telecast December 3, 1977. ~ Hal Erickson, All Movie Guide

In his first starring role minus his longtime partner Peter Cook, Dudley Moore plays a 29-year-old who goes through an identity crisis when approaching the "three-oh" mark. He wants to be a successful Broadway composer before reaching 30 and also wants to be happily married. Unfortunately, he's so busy as a night-club musician that he hasn't any time to realize his goals. Enter sexy Suzy Kendall (Mrs. Moore at the time), who inspires Dudley to reinvigorate his quest for success and connubial bliss. 30 Is a Dangerous Age, Cynthia delivers a satisfactory quota of laughs; its only drawback is its heavy reliance upon "mod" '60s camera trickery. ~ Hal Erickson, All Movie Guide

Judy Holliday re-creates her Broadway role of flibbertigibbet telephone operator Ella Peterson in Bells are Ringing. Ella works for Susanswerphone, a hole-in-the-wall answering service run by her cousin Sue (Jean Stapleton). Our girl Ella can't help but become involved in the lives of her customers, which brings her to the attention of a dimwitted police detective, Barnes (Dort Clark), who suspects that Susanswerphone is a front for a house of ill repute. The cop is so obtuse that he never notices the story's genuine criminal, a flamboyant German bookie (Eddie Foy Jr.) who poses as a record executive and uses the names of composers as code for the various racetracks around the country. To avoid Barnes' wiretapping, Ella goes around New York in person to minister to the needs of her clients--most notably playwright Jeffrey Moss (Dean Martin), who is in danger of becoming an alcoholic if he can't come up with a good idea for a play. Assuming a false identity, Ella prattles on about some of her other clients, notably a dentist (Bernie West) who composes pop songs on his air hose. Moss is inspired by Ella, and eventually falls in love with her. Because she will not reveal who she really is to Jeffrey, Ella decides that her relationship is founded on lies, and walks out of his life. But Moss, together with the other Susanswerphone customers who have been "rescued" by Ella, show up at Ella's doorstep for a happy ending. Bells are Ringing is not an example of MGM's Arthur Freed unit at its best, but Judy Holliday is luminescent in this, her last screen role (incidentally, Holliday's "blind date" in one scene is played by her then boyfriend, jazz musician Gerry Mulligan). The film's songs, by Betty Comden, Adolph Green and Jule Styne, include the hit numbers "Just in Time" and "The Party's Over". ~ Hal Erickson, All Movie Guide

The Broadway musical Pajama Game was based on Seven and a Half Cents. a comic novel about labor relations written by Richard Bissell. Doris Day stars as an employee at a pajama factory who becomes the spokesperson for her fellow workers when management refuses to give them a 7 1/2 cent raise. Complicating matters is the fact that Management is represented by handsome John Raitt, who happens to be in love with Day. A subplot involves Day's freewheeling co-worker Carol Haney and her insanely jealous boyfriend, factory-manager Eddie Foy Jr. Many of the cast members from the original Broadway production (Raitt, Haney, Foy, Reta Shaw, Peter Gennaro etc.) are retained for the film version, as are most of the Richard Adler/Jerry Ross songs: highlights include "Hey There", "Steam Heat", "Hernando's Hideaway", "There Once Was a Man". and the title song. The choreography is in the capable hands (and feet) of Bob Fosse. Pajama Game performed so well at the box-office that Warners immediately went to work on the filmization of the second (and last) Adler/Ross Broadway collaboration, Damn Yankees. ~ Hal Erickson, All Movie Guide

Lucky Me is a mixed-bag musical from Warner Bros., adhering to a tried-and-true formula that was wearing just a bit thin in 1954. Candy (Doris Day), Hap (Phil Silvers), Duke (Eddie Foy Jr.) and Flo (Nancy Walker) are four small-time performers who find themselves stranded in Miami. Forced to take domestic jobs in a fancy hotel, the foursomes's spirits are lifted when songwriter Dick (Bob Cummings) checks in. On the verge of writing a big-time Broadway show, Dick invites the four entertainers to participate. The hitch: In order to bankroll the show, Dick must woo and win the daughter (Martha Hyer) of a Texas oil magnate. . .and Candy has fallen in love with Dick. Sharp-eyed viewers will spot Angie Dickinson making her uncredited feature-film debut. ~ Hal Erickson, All Movie Guide

After a lengthy absence from the screen, Judy Canova returned in the raucous musical Honeychile. The plot had been utilized in several previous Republic films, but was good for yet another go-round here. Canova plays Judy, a would-be songwriter who sends one of her tunes to a big-city composer. When the song, published under another author's name, becomes a hit, music agent Eddie Price (Eddie Foy Jr.) heads to the sticks to negotiate a contract with Judy. By now, however, she doesn't want to sell her song: instead, she wants all the royalties for herself. Eddie's efforts to get her to change her mind are stymied by the presence of Judy's muscle-bound boyfriend Joe Boyd (Alan Hale Jr.) Somehow, everything is resolved during a climactic chuck-wagon race. ~ Hal Erickson, All Movie Guide

Producer Darryl F. Zanuck had high hopes that Wilson would immortalize him in the manner that Gone With the Wind did for David O. Selznick. The notion of bringing the life story of Woodrow Wilson, 28th president of the United States, to the big screen was a labor of love for Zanuck, and accordingly the producer lavished all the technical expertise and production values he had at his disposal. Though Alexander Knox seems a bit too robust and overnourished for Wilson, his is a superb performance, evenly matched by those of Ruth Nelson as Wilson's first wife Ellen, Geraldine Fitzgerald as second wife Edith, Thomas Mitchell as Joseph Tumulty, Sir Cedric Hardwycke as Henry Cabot Lodge, Vincent Price as William Gibbs McAdoo, Sidney Blackmer as Josephus Daniels, and the rest of the film's enormous cast. The story begins in 1912, a time when Wilson is best known as the head of Princeton University and the author of several books on the democratic process. Urged into running for Governor of New Jersey by the local political machine, Wilson soon proves that he is his own man, beholden to no one-and that he is dedicated to the truth at any cost. From the governor's office, Wilson is nominated as the Democratic presidential candidate, an office he wins hands-down over the factionalized Republicans. The sweetness of his victory is soured by the death of his wife Ellen, but Wilson ultimately finds lasting happiness with Edith Galt. When World War I breaks out in Europe, Wilson vows to keep America out of the conflict, despite pressure from such political foes as Henry Cabot Lodge (who is depicted as a thoroughly unsympathetic power broker). After being elected for a second term, however, Wilson finds it impossible to remain neutral, especially in the wake of the Lusitania sinking. Reluctantly, he enters the war in April of 1917. Deeply disturbed by the mounting casualties, Wilson decides that, after the Armistice, he will press for a lasting peace by helping to organize a League of Nations. Unfortunately, the isolationist congress, urged on by Lodge and his ilk, refuses to permit America's entry into the League. His health failing, Wilson nonetheless embarks on a whistle-stop tour, imploring the public to support the League of Nations and Wilson's 12-point peace program. During this campaign, he is felled by a stroke, whereupon Mrs. Wilson begins acting as liason between the president and the rest of the country (the commonly held belief that Edith Galt Wilson virtually ran the nation during this crisis is soft-pedalled by Lamar Trotti's script). All hopes for America's joining the League of Nations are dashed when, in the 1920 election, the Republicans gain control of the White House. The film ends as the ailing but courageous Woodrow Wilson bids farewell to his staff and walks through the White House doors for the final time. Idealistically ignoring the negative elements of the Wilson regime (notably his attitudes toward racial relationships), Wilson is not so much a biography as a paean to the late president. Though too long and overproduced, the film survives as one of Hollywood's sturdiest historical films of the 1940s. However, audiences did not respond to Wilson as Zanuck had hoped; the film was a terrific flop at the box office, so much so that it was for many years forbidden to speak of the project in Zanuck's presence. Still, Wilson garnered several Academy Awards: best original screenplay, best color art direction (Wiard Ihnen), best color cinematography (Leon Shamroy), best sound recording (E. H. Hansen), best film editing (Barbara McLean) and best color set decoration (Thomas Little). ~ Hal Erickson, All Movie Guide

Lois Andrews, best known in 1943 as the ex-wife of comedian Georgie Jessel, plays the title character in this cinemadaptation of Joseph P. McEvoy's popular comic strip Dixie Dugan. Swept up in the war effort, Dixie gets a job as secretary to government official Roger Hudson (James Ellison). Though Roger pursues her romantically, Dixie remains faithful to her defense-plant-worker fiancee Matt Hogan (Eddie Foy Jr.) Both Roger and Matt believe that a woman's place is in the home, but Dixie proves that their chauvinism is out of place during the National Emergency. Lois Andrews' inexperience is modified somewhat by the assured performances of Charlotte Greenwood and Charlie Ruggles as Dixie's parents. ~ Hal Erickson, All Movie Guide

The sure-fire combination of Judy Canova and Joe E. Brown paid off in big laughs and excellent box-office returns in the bizarre wartime musical Joan of Ozark. While hunting quail near her home, hillbilly Judy (Canova) catches a carrier pigeon bearing a message for a ring of Nazi spies. She turns the bird over to the FBI and is lauded as a heroine-much to the dismay of Philip Munson (Jerome Cowan), whose posh New York nightclub is a cover for his Fifth Column activities. As luck would have it, theatrical agent Cliff Little (Joe E. Brown) has been sent to the Ozarks to scare up new talent for Munson's club. Little wants to sign Judy for a singing contract, but she'll have none of it until he poses as a G-Man and appoints her an honorary "G-Woman." To keep Judy happy once they're back in New York, Cliff pretends to be a spy while wandering around the nightclub-and thus it is that our hapless hero and heroine stumble upon Munson's nest of Nazis. It's hard to determine which is sillier in Joan of Ozark: Joe E. Brown's imitation of Adolf Hitler or the Keystone Kop-like climactic airplane chase. Also good for a few yocks is the closing musical number, set in "the future"-namely, 1952! ~ Hal Erickson, All Movie Guide

Yankee Doodle Dandy is no more the true-life story of George M. Cohan than The Jolson Story was the unvarnished truth about Al Jolson -- but who the heck cares? Dandy has song, dance, pathos, pageantry, uproarious comedy, and, best of all, James Cagney at his Oscar-winning best. After several failed attempts to bring the life of legendary, flag-waving song-and-dance man Cohan to the screen, Warners scenarist Robert Buckner opted for the anecdotal approach, unifying the film's largely unrelated episodes with a flashback framework. Summoned to the White House by President Roosevelt, the aging Cohan is encouraged to relate the events leading up to this momentous occasion. He recalls his birth on the Fourth of July, 1878; his early years as a cocky child performer in his family's vaudeville act; his decision to go out as a "single"; his sealed-with-a-handshake partnership with writer/producer Sam Harris (Richard Whorf); his first Broadway success, 1903's Little Johnny Jones; his blissful marriage to winsome wife Mary (a fictional amalgam of Cohan's two wives, played by Joan Leslie -- who, incredibly, was only 17 at the time); his patriotic civilian activities during World War I, culminating with his writing of that conflict's unofficial anthem "Over There" (performed by Nora Bayes, as played by Frances Langford); the deaths of his sister, Josie (played by Cagney's real-life sister Jeanne), his mother, Nellie (Rosemary DeCamp), and his father, Jerry (Walter Huston); his abortive attempt to retire; and his triumphant return to Broadway in Rodgers & Hart's I'd Rather Be Right.

His story told, Cohan is surprised -- and profoundly moved -- when FDR presents him with the Congressional Medal of Honor, the first such honor bestowed upon an entertainer. His eyes welling up with tears, Cohan expresses his gratitude by invoking his old vaudeville curtain speech: "My mother thanks you, my father thanks you, my sister thanks you, and I thank you." Glossing over such unsavory moments in Cohan's life as his bitter opposition of the formation of Actor's Equity -- not to mention George M.'s intense hatred of FDR! -- Yankee Doodle Dandy offers the George M. Cohan that people in 1942 wanted to see (proof of the pudding was the film's five-million-dollar gross). And besides, the plot and its fabrications were secondary to those marvelous Cohan melodies -- "Give My Regards to Broadway," "Harrigan," "Mary," "You're a Grand Old Flag," "45 Minutes from Broadway," and the title tune -- performed with brio by Cagney (who modifies his own loose-limbed dancing style in order to imitate Cohan's inimitable stiff-legged technique) and the rest of the spirited cast. Beyond its leading players, movie buffs will have a ball spotting the myriad of familiar character actors parading before the screen: S.Z. Sakall, George Tobias, Walter Catlett, George Barbier, Eddie Foy Jr. (playing his own father), Frank Faylen, Minor Watson, Tom Dugan, John Hamilton, and on and on and on. In addition to Cagney, music directors Ray Heindorf and Heinz Roemheld also won Oscars for their efforts. ~ Hal Erickson, All Movie Guide

Republic Pictures obviously hoped to build vaudevillian Eddie Foy Jr. into a major screen comedian, as witness such efforts as Country Fair. Foy plays Johnny Campbell, glib campaign manager for gubenatorial candidate Stogie McPhee (William Demarest). Having impulsively promised Johnny that she'll marry him if McPhee wins, heroine Pepper Wilson (June Clyde) begins canvassing the voters on behalf of rival candidate Gildersleeve (played by Harold Peary, who'd created "Gildy" on radio's Fibber McGee and Molly). But the race is won by a dark horse, blacksmith Gunther Potts (Guinn Williams), who single-handedly cleans out the corrupt element in the local government. Where this leaves Johnny and Pepper is a problem solved in the final footage. In addition to Harold "Great Gildersleeve" Peary, Country Fair spotlights such radio favorites as Lulubelle and Scotty, the Vass Family and the Simp Phonies. There's also an appearance by someone named Whitey Ford, though chances are it may not be the hall of fame New York Yanee pitcher. ~ Hal Erickson, All Movie Guide

In this cornball musical comedy, a hillbilly gal and her uncle struggle to keep sly city slickers from getting their land. It is an uphill battle as their farm is located on Fifth Avenue, New York City. The slickers then resort to trickery by offering the girl a phony singing gig on the radio. Unfortunately for them, something goes wrong and the girl's heartfelt singing is heard all over the town. Of course she is a big hit. Songs include: "Hey Junior", "You're Telling I", "Manhattan Holiday", and "Puddin' Head" (all by Eddie Cherkose, Sol Meyer, Jule Styne). ~ Sandra Brennan, All Movie Guide

This quickie RKO musical is the second retread of Street Girl (1929); the 1937 musical That Girl from Paris was the first remake. This time around, the four jacks are musicians Nifty (Ray Bolger), Happy (Eddie Foy Jr.), Nat (Jack Briggs), and Eddie (William Blees). Their singer Opal (June Havoc) quits the band because her mobster boyfriend The Noodle (Jack Durant) is pressuring her to pay more attention to him. Nifty discovers the down-on-her-luck Nine (Anne Shirley) and persuades her to masquerade as a celebrated foreign singing star. Farcical complications result -- including cab driver Steve (Desi Arnaz) posing as Balkan nobility! -- as the musicians and their new girl singer pursue fame and fortune. Songs include "You Go Your Way And I'll Go Crazy" and Boogie Woogie Conga". ~ Nicole Gagne, All Movie Guide