William Frawley Movies

The best of Universal-International's followups to Abbott & Costello Meet Frankenstein, Abbott & Costello Meet the Invisible Man casts Bud and Lou as mail-order private eyes. The boys champion the cause of boxer Arthur Franz, who has been framed for murder. Utilizing the formula created by Claude Rains in the original Invisible Man (1933), Franz vanishes before Dr. Gavin Muir's astonished eyes. Cloaked by invisibility, Franz talks Bud and Lou into helping him nab the real murderer, gangster Sheldon Leonard. A string of uproarious gags and comic setpieces is highlighted by a boxing-ring finale, wherein Lou, backed up by the invisible Franz, dukes it out with a behemoth prizefighter. A clever special-effects closing gag caps this delightful A&C vehicle. ~ Hal Erickson, All Movie Guide

Finishing out her Paramount Pictures contract, opera star Gladys Swarthout sings not a single note in the tense little thriller Ambush. After pulling off a bank robbery, a clever gang of thieves squirrels itself away in a rural hideout. Complicating matters is the unexpected arrival of Jane Hartman (Swarthout), the sister of one of the crooks. Hoping to keep her brother and herself alive, Jane is obliged to coerce an honest truck driver named Tony Andrews (Lloyd Nolan) into helping the fugitives escape. Ambush is distinguished by the bravura performance of Ernest Truex, usually cast in milquetoast roles, as the brilliant but deadly "brains" of the outlaw gang. ~ Hal Erickson, All Movie Guide

Blondie in Society is another delightful excursion into comic insanity for Blondie (Penny Singleton), Dagwood (Arthur Lake) and Baby Dumpling (Larry Simms). The trouble begins when Dagwood brings home a huge Great Dane as a favor to an old friend. It turns out that the gigantic hound is a pedigree, and that Waldo Pincus (William Frawley), an important client of Dag's boss Mr. Bumstead (Jonathan Hale) would like to buy the dog. Alas, Blondie has already entered her new pet in a dog show, ultimately winning a $500 prize and beating out the previous champion-which, of course, belongs to Mr. Pincus. On the verge of losing his job, Dagwood is rescued one more by the resourceful Blondie, with the help of irascible veterinarian Edgar Kennedy. Like the previous Blondie Goes Latin, Blondie In Society affords Penny Singleton the opportunity to display her musical skills, as she sings two songs with the Mitchell Boys' Choir. ~ Hal Erickson, All Movie Guide

This film, which is one of a series based on the characters from the Blondie comic strip, finds Dagwood entering the Army Reserve. Blondie visits, only to discover that he has caused all sorts of problems which lead to numerous conflicts. The ORC Training Center, Fort MacArthur, California was used for the setting of this film. ~ Sandra Brennan, All Movie Guide

Bolero stars George Raft as Raoul de Barre, an arrogant dancer who rises to fame in the years prior to, during, and after WW I. Raoul is helped along the way by his promoter brother Mike (William Frawley) and scores of willing females, matriculating from two-bit gigolo to the greatest ballroom dancer in Paris. Determining that nothing will stand in his way to the top, he regularly fires any female dancing partner who has the misfortune to fall in love with him -- until the last of his partners, the beautiful Helen (Carole Lombard) beats him to the punch by walking out on him. His heart weakened during the war, Raoul aspires to open his own nightclub, despite warnings that if he ever dances again the consequences will be fatal. On opening night of his new establishment, Raoul dances Maurice Ravel's "Bolero" with Helen, now the wife of a British nobleman. Having reached his emotional and professional pinnacle, Raoul collapses and dies in his dressing room -- as the nightclub patrons, oblivious to his fate, loudly demand an encore. Surprisingly, George Raft and Carole Lombard's dancing is doubled by others, but the same cannot be said of the inimitable Sally Rand, whose famous fan dance is tastefully re-created here. Raft and Lombard later reteamed in 1935's Rumba. ~ Hal Erickson, All Movie Guide

George Seaton's 1948 comedy Chicken Every Sunday was based on the play by Julius J. Epstein and Philip G. Epstein as well as the original memoirs of Rosemary Taylor. Set during the turn of the century on the American frontier, Emily Heffernan (eleste Holm) is the practical wife of foolish would-be businessman Jim Heffernan (Dan Dailey). While Emily struggles to keep the household together by renting out rooms to boarders, Jim wastes the family's earnings on get-rich-quick schemes. Told in flashback, Emily recalls her 20-year marriage before filing for divorce. Emily has had enough and wants to leave, but their friends try to get them back together. Also starring Colleen Townsend, Alan Young, and a ten-year-old Natalie Wood. ~ Andrea LeVasseur, All Movie Guide

No relation to the Cracked Nuts he directed in 1931, this hokey sci-fi-comedy from director Edward F. Cline stars Stuart Erwin as Lawrence Trent, a country rube who wins a refrigerator-slogan contest and gets some money for his efforts. Meanwhile, mad scientist Boris Kabikoff (Mischa Auer) builds a silly-looking robot in his own image and hooks up with a New York patent attorney (William Frawley from I Love Lucy) to bilk Trent out of his prize money. Shemp Howard plays the robot as a lusty creature with a penchant for skirt-chasing and is used by black servant Chloe (Hattie Noel) to do housechores and frighten her husband Burgess (Mantan Moreland), who has a gambling problem. Una Merkel co-stars with Astrid Allwyn and Pierre Watkin. ~ Robert Firsching, All Movie Guide

In this frothy romantic adventure, Marlene Dietrich plays Madeleine de Beaupre, a devious jewel thief. After sneaking a valuable string of pearls away from jeweler Aristide Duval (Ernest Cossart), Madeleine attempts to flee Paris, leaving a trail that will instead implicate psychiatrist Dr. Pauquet (Alan Mowbray). While headed for the Spanish border, she nearly runs into Tom Bradley (Gary Cooper), an American auto engineer vacationing in Europe. Madeleine spots Tom again as she waits to go through Spanish Customs; worried that the stolen pearls will be found in her handbag, she slips them into Tom's pocket. After they both make their way through inspection unscathed, Madeleine flirts with Tom in an attempt to get the valuables back; he's too shy to respond in kind, so she gets his attention by trying to "repair" the engine of her car with a hammer. Madeleine lures Tom to the San Sebastian estate of her partner in crime, Carlos Margoli (John Halliday). It doesn't take long for Tom to figure out what Madeleine and Carlos are up to; however, he also knows that he's fallen in love with her, and he is willing to play along if it allows him to be near her. Carlos was originally to have been played by John Gilbert; Halliday was a last-minute replacement after the one-time silent screen star died a week before shooting was to begin. ~ Mark Deming, All Movie Guide

A semi-sequel to Here Comes Mr. Jordan, Columbia's Down to Earth is a camp- and kitsch-lover's delight. More beautiful than ever, Rita Hayworth stars as Terpsichore, the Goddess of Dance. From her perch Up Above, Terpsichore discovers that Broadway producer Danny Miller (Larry Parks) intends to put together a musical satire, lampooning herself and her fellow Greek Gods. Eliciting the aid of Heavenly emissary Mr. Jordan (Roland Culver, taking over from the earlier film's Claude Rains), Terpsichore descends to Earth in human form, landing a role in Miller's play. Through her bewitching influence, Miller agrees to abandon his plans for a satire, transforming his production into a portentiously serious "work of art"-which lays a large and noxious egg with the opening-night crowd. Somehow, our ethereal heroine manages to set things right, but there's still one nagging problem: Will she, a goddess, ever be permitted to fall in love with a mere mortal like Miller? Repeating their Here Comes Mr. Jordan roles, James Gleason and Edward Everett Horton appear respectively as the eternally flustered Max Corkle (formerly a fight promoter, now a theatrical agent) and the pompous, rule-bound Heavenly messenger #7013. Silly but immensely entertaining, Down to Earth was remade as the sillier but decidedly less entertaining Xanadu in 1980. ~ Hal Erickson, All Movie Guide

In this boxing drama, an ex-champ finds himself working as a doorman at a nightclub. His son aspires to a high caliber career on Wall Street; he is getting ready to marry a banker's daughter. When not working at the club, the boxer trains a welterweight with championship potential. Later the son gets caught embezzling funds. To help him pay it back the boxer asks that his trainee throw his next fight while he bets everything on the opponent. The young fighter refuses to take a dive and wins the fight. Fortunately, the ex-champ's assistant knew this and bet even more money on their protegee. ~ Sandra Brennan, All Movie Guide

John Wayne is not the title character of Flame of the Barbary Coast: that honor goes to second-billed Ann Dvorak. Wayne plays a Montana cattleman who is lured into a San Francisco gambling joint by dance-hall girl Dvorak. Though Ann at first brings Wayne luck, he ends up losing his shirt to cardshark Joseph Schildkraut. Chastened by the experience, Wayne leaves Frisco with his tail between his legs, returning only after he himself has become a gambling expert. Thanks to his new-found expertise, Wayne is able to rake in enough bucks to open his own saloon, bringing Dvorak along for the ride as star of the floor show. Numerous intrigues ensue, culminating in a drawn-out trial scene. As the judge is about to reach a decision, the San Francisco Earthquake strikes (mostly off-screen, drat the luck). When Dvorak is injured in the disaster, Wayne is forced to realign his values. The Duke and The Dvorak decide to bid adieu to the City by the Bay, heading off to Montana to start life anew. ~ Hal Erickson, All Movie Guide

Footsteps in the Dark is a comedy/mystery, starring Errol Flynn as a wealthy investment counselor who secretly doubles as a dilettante detective, the better to write mystery novels. Brenda Marshall plays his wife, who can't understand why he is never home and begins to suspect hanky-panky. In fact, Flynn is investigating the murders of a jewelry smuggler and an exotic dancer. The trail of evidence leads to the Least Likely Suspect -- portrayed, as is often the case, by an actor who's always the one who "did it" in murder mysteries. Not nearly as funny a film as the producers seem to think it is, Footsteps in the Dark is an obvious attempt by Warner Bros. to create a "Nick and Nora Charles" team, in emulation of MGM's popular Thin Man series. Footsteps ends with wife Marshall vowing to join hubby Flynn in his next murder mystery, leaving the door wide open for a sequel...which was never filmed. ~ Hal Erickson, All Movie Guide

Maybe Errol Flynn was never the war hero that he often played, but he was a capable boxer, and Gentleman Jim makes full use of this skill. Flynn stars as Jim Corbett, the 19th-century American pugilist who introduced "scientific" methods to bare-knuckle boxing. Originally an office clerk, Corbett is introduced to the then-illegal sport of fighting when one of the bank executives sponsors the young man's training at the Olympic Club. His arrogance wins Corbett a few enemies, including high-born lady Victoria Ware (Alexis Smith), whose dislike turns to casual affection when she realizes that Corbett is a sincere young fellow who can back up his boasts. What "Gentleman Jim" desires most in life is a match with reigning heavyweight champ John L. Sullivan (Ward Bond). Corbett and Sullivan finally meet in a bout governed by those new Marquis of Queensbury rules that Corbett has helped popularize. Twenty-one epoch-making rounds later, Corbett emerges victorious. At the victory celebration, Sullivan and Corbett graciously exchange mutual words of respect and affection. At this point, Corbett has totally won over the lovely Victoria -- but hasn't quite convinced his brawling brothers that "scientific" boxing is the wave of the future, and the film ends with a typical Raoul Walsh-directed battle royal. More faithful to the facts than most Errol Flynn biopics (but still with enough poetic license to drive historical purists up a wall), Gentleman Jim is broad, boisterous entertainment. Though it looks expensive, the film was made under Warner Bros.' standard pinchpenny restrictions; if you look closely at that moored ship where Corbett has one of his first professional fights, you'll notice that it's a leftover set from the 1940 Errol Flynn swashbuckler The Sea Hawk. ~ Hal Erickson, All Movie Guide