Noel Francis Movies

Left-Handed Law is an average western lifted well above the norm by star Buck Jones and director Lesley Selander. Jones is cast as Alamo Bowie, who tries to help rancher Sam Logan (George Regas) rid his land of outlaws. He does this partly because he's fond of Logan's daughter Betty (Noel Francis), but mostly because he feels like a-doin' it. The film's "money" scene finds Alamo agreeing to accommodate fatally wounded outlaw One-Shot Brady (Matty Fain), whose last wish is to die with his boots off. Our hero removes one boot, pauses, looks down, and says softly "Got one of 'em off, old timer." ~ Hal Erickson, All Movie Guide

In perhaps the most tranquil B-Western of the 1930s, Buck Jones, who also produced, plays the tough but goodhearted proprietor of the Bonanza, the only gambling establishment in otherwise God-fearing Silver Creek. Noel Francis, who used to play blonde schemers in Warner Bros. gangster films, earns second billing as the casino's equally goodhearted chanteuse. Surprisingly, the glamorous Miss Francis is not paired off with Jones, but has to settle for country pumpkin Grady Sutton, of all people. In fact, the hero must wait no less than 51 minutes before he is finally provided a few romantic moments with Peggy Campbell, who arrives just in time to warble "Tonight May Never Come Again" to an enraptured Jones. The latter does very little of anything in this film, except prevent a couple of gamblers (Rodney Hildebrand and Harry Semels) from robbing the casino's safe, proving himself worthy in the eyes of Pastor Timothy Tucker (Niles Welch) and his girlfriend Martha (Marion Shilling) along the way. Restored by Universal/MCA in 2000, Stone of Silver Creek has no action to speak of, but is saved from the doldrums by good performances from Jones, the unfairly forgotten Noel Francis, and the always watchable Grady Sutton, who gets the top-billed girl for the first and only time in his long career. Unlike most Westerns of the day, Stone of Silver Creek was produced entirely on the Universal back lot. ~ Hans J. Wollstein, All Movie Guide

Based on a mystery novel by Mignon Eberhart, The White Cockatoo concerns three mysterious murders at a French chateau. The villain seems determined to bump off all the friends and relatives of Sue Talley (Jean Muir) and Jim Sundean (Ricardo Cortez), hoping thereby to get his (or her) hands on the fortune they've inherited. Clouding the issue is the curious behavior of ostensible hero Sundean, who may very well be behind the killings. Though reviewers complained that they couldn't make heads or tails of the storyline, audiences didn't seem to share this confusion. Still, it would have been nice if screenwriters Ben Markson and Lillie Hayward had been more faithful to the Eberhart original. ~ Hal Erickson, All Movie Guide

The first of two film version of Fannie Hurst's novel, 1934's Imitation of Life chronicles the friendship between two women--one white (Claudette Colbert), one black (Louise Beavers). Colbert is a widow with a baby daughter who hires Beavers, who also has a daughter, as a housekeeper. Colbert is a working girl who yearns to operate her own business, which she does thanks to Beavers' special pancake recipe. A family friend (Ned Sparks) suggests that the ladies form a corporation to merchandise the "Aunt Delilah" pancake mix, and within ten years both women are quite wealthy. Colbert's relationship with her teenaged daughter (Rochelle Hudson) is strained when both ladies vie for the attentions of the same man, but these problems are minor compared to the travails of Beavers, who not only must deal with the De Facto segregation of the 1930s but must also contend with her restless daughter (Fredi Washington), who resents being an African-American and attempts to pass for white. The heartbroken Beavers dies, and at her funeral her now-chastened daughter weeps out her apologies for turning her back on her mother. Imitation of Life was remade in 1959, its story glamorized and updated to accommodate star Lana Turner. ~ Hal Erickson, All Movie Guide

William Gargan plays his first movie detective (but definitely not his last) in Columbia's The Lineup. The hero, a gumshoe named Bob (Gargan), is on the trail of a gang of fur smugglers. Deducing that a posh nightclub serves as the front for the villain's activities, he arrests everybody in the joint and subjects them to the humiliation of a police lineup. One of the unfortunates dragged into headquarters is innocent hat-check girl Peggy (Marian Nixon), who's beautiful when she's angry. Smitten by Peggy, Bob ultimately enlists her aid in tracking down the genuine culprits (that's some way to treat your girlfriend!) For its initial New York engagement, The Lineup was shown on a double bill with another Columbia cops-and-robbers quickie, One is Guilty. ~ Hal Erickson, All Movie Guide

What's Your Racket? was another aimless crime drama from low-budget Mayfair Productions, albeit with a more alluring title than usual (most Mayfair efforts bore such yawn-provoking names as Her Forgotten Past and Sister to Judas). The story opens as heroine Mae Cosgrove (Noel Francis) robs the home of gangster Jimmie Dean (a miscast Creighton Hale). Mae's not really a bad girl; she's just fallen into bad company. She alters her course in life when she falls in love with rookie cop Bert Miller (Regis Toomey), who doesn't suspect that Mae is tied in with chief villain Dick Graves (J. Carroll Naish) The "surprise" revelation of Mae's true identity -- she's the daughter of a banker framed for robbery by Dean and Graves -- comes out of nowhere, suggesting that the producers showed up on the set one day and exclaimed "Say, we gotta wrap this film up some time!" What's Your Racket? was directed by Fred Guiol, who once piloted the comedies of Laurel & Hardy at Hal Roach Studios. ~ Hal Erickson, All Movie Guide

Fed up with her doctor husband's ceaseless charity work, Mary Harris (June Clyde) leaves her Midwest "tank town" in favor of Big City excitement in this low-budget drama from Hollywood's sole woman producer at the time, Fanchon Royer. Boarding with her sophisticated friend, Milly (Noel Francis), Mary begins an affair with Sidney Fletcher (Ralf Harolde), the owner of the dress shop where both girls model. Meanwhile, back in Mary's hometown, Ted Harris (George J. Lewis) saves the life of a pillar of society, and, as a reward, is made head of the local hospital. Mary, who believes Fletcher will marry her, demands a divorce from Ted. Fletcher reneges on his promises and instead offers Mary a check for 10,000 dollars, the "usual amount," as he calls it. A struggle ensues, during which the bounder is shot. Realizing that Mary will be charged with first-degree murder if Fletcher dies, Ted volunteers to operate on his former rival, whose life is saved in the nick of time. Reunited with the husband who always loved her, Mary happily returns to her old vocation as his nurse. ~ Hans J. Wollstein, All Movie Guide

Jenny (Ruth Chatterton) becomes pregnant by a young man who is killed in the 1906 San Francisco earthquake. Bearing her child in secret, Jenny gives up custody to a wealthy couple. The years pass, and through the auspices of a crooked politician (Louis Calhern), Jenny becomes the number one "madame" of San Francisco, with interests in several other illicit activities. Crusading district attorney Dan Reynolds Donald Cook decides to rid the city of Jenny's operations -- little suspecting that the notorious woman is actually his own mother. ~ Hal Erickson, All Movie Guide

In this family drama, a married couple work in a department store. He is a shipping clerk; she works in the dress department. The husband loses his job when he is framed for a robbery by a sleazy security guard. His unemployment spawns marital discord until the very end when the truth is at last discovered. Happiness then ensues. ~ Sandra Brennan, All Movie Guide

Distantly related to Frederick Lewis Allen's non-fiction book of the same name, Only Yesterday uses fictional characters to trace the years between 1917 and 1929. Wealthy New Yorker John Boles recalls a long-ago affair with southern belle Margaret Sullavan. She gave birth to his child without ever naming the father, then moved to New York herself and set up a dress shop. As the stock-market crash of 1929 wipes out his life savings, Boles becomes remorseful over how he's forgotten Sullavan, who is now dying. He acknowledges that he is the father of her child, and promises to make a good life for the boy despite his dire financial situation. Only Yesterday opens with a remarkable montage sequence showing the devastating effects of the Depression; after that, it never quite gains momentum despite the superb performance of Margaret Sullavan (in her film debut). ~ Hal Erickson, All Movie Guide

This second of three film versions of Edna Ferber's novel So Big stars Barbara Stanwyck as Ferber's resilient heroine Selena Dejong Peake. Widowed early in the proceedings, Chicago truck farmer Selena sacrifices everything for her son Dirk (Dickie Moore as a child, Hardie Albright as a grown-up), living for the day that the boy will become a successful architect. But the callow Dirk breaks his mom's heart by becoming a bond salesman. Selena vows that Rolf Pool (Dick Winslow as a boy, George Brent as an adult) will not prove a similar disappoint to his parents, taking it upon herself to encourage Rolf's dreams to become a sculptor. Bette Davis plays a supporting role as Dallas O'Mara, a young artist who hopes to convince Dirk to fulfill his mother's dreams. Previously filmed in 1925 with Colleen Moore, So Big was remade in 1953 with Jane Wyman. ~ Hal Erickson, All Movie Guide

Johnny Mack Brown stars in Flames as a cocksure young firefighter named Charlie. After rescuing a cat from a burning building, Charlie and his pal Fishy (George Cooper) try to make time with the cat's pretty owners, Pat (Noel Francis) and Gertie (Marjorie Beebe). After a plenitude of comic byplay, our hero gets down to business again by battling a blaze in the firetrap apartment building next door to Pat's place. Since the film was directed by cinematographer Karl Brown, it should be no surprise that Flames is far more interesting visually than verbally. TV prints of Flames bear the reissue title The Fire Alarm. ~ Hal Erickson, All Movie Guide