Blanche Frederici Movies

In this melodrama, an engineering professor longs to leave his ivory tower so he can be involved in a special project taking place near Boulder Dam. He decides to go and tries to convince his wealthy student/lover to go with him. They discuss this in a night club. She doesn't really want to go. While there, they encounter another couple, a crook and his moll who offer their own unique take on the situation. The crooks offer the wealthy lovers insight into the realities of living on the lower rungs of the social ladder. At the end of the evening, the crook steals the wealthy girl's purse so he can help his pregnant girl. He gets arrested. Fortunately, the kindly professor helps him break out so he can be with his moll who needs him. Unfortunately, during the escape, the crook kills a cop and takes the professor and his girl hostage. The police surround the joint and the rich girl hides in a corner during a shoot out. The situation gets desperate and the crook and his lover vow that they will never again be parted and hand in hand leap from the window to certain death. The girl suddenly realizes the true meaning of love and decides to accompany her lover out west and start all over again. ~ Sandra Brennan, All Movie Guide

When her tough boyfriend Red Branahan (William Gargan) is sent to jail, Aggie Appleby (Wynne Gibson) meets mild-mannered Adoniram Schlump (Charles Farrell), and decides to turn him into a real man. She teaches him how to talk tough, changes his name to Red Branahan, and gets him a construction job -- unaware that the real Red has been released from prison. ~ Bill Warren, All Movie Guide

Frisky princess Marie Christine, known as Mitzi (Janet Gaynor) passes herself off as a manicurist, and falls in love with Karl (Henry Garat), a delicatessen worker, though he's really a lieutenant in Mitzi's army. Back at the palace, the Prime Minister (C. Aubrey Smith) tells Mitzi her betrothal to a prince she's never met will be announced. Unaware of the truth, the Prime Minister secretly tries to convince Karl to make Mitzi forget the delicatessen man, while Mitzi, to test his love, tells Karl she's jealous of the princess. More romantic/comic complications ensue. ~ Bill Warren, All Movie Guide

There's nothing wrong with Hold Your Man that a little editing wouldn't cure. Clark Gable plays a raffish young petty crook who hides out in hard-boiled Jean Harlow's apartment after he pulls off a robbery. Harlow enjoys Gable's company, and soon the two are living together. Gable puts his criminal career on hold for a while, but when Harlow, jealous of her boy friend's womanizing, fabricates a romance with "wealthy" laundry owner Paul Hurst, Gable decides to knock over Hurst's establishment. Hurst is accidentally killed, whereupon Gable runs off to parts unknown, leaving Harlow to take the rap. While in prison, Harlow discovers she's pregnant with Gable's baby. The conscience-stricken Gable tries to fix things by sneaking into prison and hastily marrying Harlow. By coming out of hiding, Gable allows himself to be arrested, but Harlow promises to wait for him. Hold Your Man starts out as an acerbic "sez you" comedy-drama, then bogs down into a big pile of sentimental goo (a common problem with MGM films of the early 1930). Still, the first few reels are infinitely entertaining, thanks to the chemistry between Clark Gable and Jean Harlow. ~ Hal Erickson, All Movie Guide

Silent screen legend Mary Pickford makes her final movie appearance in Secrets, adapted from the play by Rudolph Besier and Mary Edgerton. Edgerton plays a 19th century New England belle who accompanies her husband Leslie Howard to the wilds of California. Pickford's first baby is killed when her cabin is besieged by desperadoes. Howard's reaction to the tragedy is to play around with other women, but Pickford stands steadfastly by her husband for the next half-century. The film ends with an aged Pickford surrounded by her grown children in her luxurious mansion, prattling on about secret joys, secret sorrows, lovely secrets and dreadful secrets. Evidently this film was released in secret, for it failed at the box office and convinced Ms. Pickford (who produced the picture) that her starring days were over. Previously filmed as a Norma Talmadge starrer in 1924, Secrets seemed antiquated in the 1930s, but Mary Pickford's scenes with her dead baby proved that her great talent was undiminished. ~ Hal Erickson, All Movie Guide

In this romantic musical, a carnival knife thrower's assistant falls for a Parisian tour guide who earns money wearing a sandwich board that says "Is Your Heart Happy? No? Consult Professor Bibi, 17 Rue Canton." After a few romantic mishaps, true love eventually ensues. Songs include: "Lover of Paree," "Lucky Guy," "In a One-Room Flat," "The Way to Love," "It's Oh, It's Ah, It's Wonderful" (Ralph Rainger, Leo Robin). ~ Sandra Brennan, All Movie Guide

In this drama, Diana (Myrna Loy) is a beautiful tourist from the United States who is visiting Cairo, accompanied by her Uncle Cecil (C. Aubrey Smith) and Aunt Powers (Louise Closser Hale). Diana is to meet her fiance Gerald (Reginald Denny) in Cairo, but she soon makes the aquaintance of Jamil (Ramon Novarro), a handsome local who works for the hotel as a tourist guide. Jamil returns Diana's lost dog, earning her gratitude, though she's unaware that Jamil took the dog himself so that he could return it to her. After several days of showing Diana Cairo's most magificnet sights (and scheming to keep Gerald at a distance), Jamil reveals his secret to Diana -- that he's actually an Arab prince who wants Diana's hand in marriage. However, Diana isn't especially taken with this idea at first, and and before long the darker side of Jamil's infatuation makes itself known. The Barbarian was based in part on one of Ramon Novarro's silent hits, The Arab, and the film inspired more than a few raised eyebrows in 1933 thanks to a scene where Myrna Loy swims in the nude at an oasis, though Loy later wrote that she was wearing a flesh-colored body stocking in deference to her modesty (and the censors). ~ Mark Deming, All Movie Guide

This droll, sophisticated comedy stars Constance Bennett as Venice Muir, a shy young lady with no "past" of any kind -- and very little romance in her life. Hoping to overcome her bashfulness during a trip to Europe, she invents a lurid history for herself, then engages the services of paid escort Guy Bryson (Ben Lyon) to accompany her to all the continent's hot spots. Through word of mouth, Venice gains the reputation of being a sexual adventuress (though she's still nothing of the kind), and soon she is headline fodder for all the Parisian newspapers. Her fabricated randy reputation catches the eye of wealthy Donnie Wainright (David Manners), but it is Guy Bryson who ultimately makes an "honest woman" out of her. Lady With a Past was adapted from the equally delightful novel by Harriet Henry. ~ Hal Erickson, All Movie Guide

Based on Veneer, a 1929 Broadway flop by Hugh Stange, this sentimental domestic drama came to the screens in early 1932, first as Love Starved, then under the less inflammatory title of Young Bride. The love-starved young bride is Allie Smith (Helen Twelvetrees), who, after a whirlwind romance, marries handsome but weak-willed Charlie Riggs (Eric Linden). Presenting himself as a wheeler-dealer, Charlie is in reality a mere runner in a Wall Street brokerage firm and, if that isn't bad enough, is cheating on his new wife with Maizie (Arline Judge), a brassy taxi dancer. When a pregnant Allie threatens to leave him, Charlie attempts to win her back with money earned in a dance contest with Maizie, but the taxi dancer absconds with the winnings and a distraught Allie contemplates suicide. After a final confrontation with Maizie, a chagrined Charlie returns to home and hearth begging forgiveness. Convinced of her husband's reformation, Allie accepts the apology and the couple embrace. ~ Hans J. Wollstein, All Movie Guide

This first film version of Ernest Hemingway's novel A Farewell to Arms stars Gary Cooper and Helen Hayes. Cooper plays Lt. Frederick Henry, a World War I officer who falls in love with English Red Cross nurse Catherine Barkley (Hayes)-after first mistaking her for a woman of ill repute. Henry's friend, Major Rinaldi, is envious of the romance, and pulls strings to have Catherine transferred to Milan. When Henry is wounded in battle, he ends up in the very hospital where Catherine works. They resume the affair, which reaches an ecstatic peak just before Henry is returned to the front. The now-pregnant Catherine remains in Switzerland, sending letters by the bushelfull to Henry. But the jealous Rinaldi sees to it that Henry never receives those letters, leading Catherine to conclude sorrowfully that Henry has forgotten her. As the Armistice approaches, Henry makes his way to Switzerland, hoping to find Catherine. ~ Hal Erickson, All Movie Guide

One of the most technically accomplished and sophisticated movie musicals of the 1930's, Rouben Mamoulian's Love Me Tonight (1932) had a profound effect on the shape of the musical genre (especially the films of Vincente Minnelli), and remains a candidate for best movie musical ever made, some seven decades after its release. And that distinction is based entirely on its style and structure -- it doesn't even take into account a hit-laden score by Richard Rodgers and Lorenz Hart, or a raft of delightful performances, several of them totally unexpected in their range and wit. The movie opens with an amazing double audio/visual montage sequence, in which the sleeping city of Paris awakens to a slowly rising chorus of sounds, street by street, house by house -- forming what the script describes as a "symphony" of sound -- which coalesces into a song. It is through the latter that we meet Maurice Courtelin (Maurice Chevalier), a young Parisian tailor who has just completed his first big job, an order of 15 suits for the Viscount de Varese (Charlie Ruggles), who has promised to pay him on delivery. He then discovers that the Viscount is little more than an upper-class ne'er-do-well who, among his other faults, has no money of his own -- being completely dependent on his crusty old uncle the Duke (Sir C. Aubrey Smith) -- and never pays his bills. In one of a half-dozen remarkable musical scenes, as Maurice's friend Emile (Bert Roach) ponders the matter of love in the new suit he has made for him, Maurice begins singing "Isn't It Romantic?", causing Emile to hum the tune as he strolls onto the street; the song is picked up by a taxi driver (Rolfe Sedan), and passed to his passenger (Tyler Brooke), a composer, who carries it aboard a train, humming it, where a group of soldiers hear it and end up singing it as they march across a field, where a young gypsy hears it and carries it to his camp on his violin, where the whole clan is soon singing. And the song is finally wafted across the surrounding fields to the estate of the Duke and the Viscount de Varese, where it is heard and sung by the Duke' niece, Princess Jeanette (Jeanette MacDonald). The two characters, Maurice and Jeanette, are linked for us in this way even before they meet, and the stage is set for the rest of the plot. For the Princess, living under her family's tradition-bound hand, romance is a source of unhappiness; there's no one at the chateau to interest her, and even if there were, she couldn't dare to be interested; already a widow from an arranged marriage at age 22 (her first husband was 75), she must marry someone of equal royal rank, and the only two known candidates in all of Europe are ages 85 and 12, respectively. Maurice journeys to the chateau with the clothes the Viscount ordered, hoping to confront him for payment, and is mistaken for one of the guests -- and he crosses paths with the Princess, and falls in love with her. Identified as the Count de Courtelin, he delights the rest of the guests with his joie de vivre and his way with a song, especially "Mimi" (which somehow managed to make it past the censors, despite some amazingly risque lyrics), getting the entire coterie of nobles singing it in his wake. But the Princess is resistant to his free and easy charm and flirtations, her staid upbringing and sense of station fighting her natural inclinations, while her other would-be suitor, the Count de Savignac (Charles Butterworth), is suspicious of this new-found rival. Also present at the estate is the Duke's other niece, Countess Valentine (Myrna Loy), who has a nymphomaniac interest in men under the age of 40, of whom Maurice is the only one at the chateau not related to her -- thus, he must fend off her advances while trying to woo a woman who wants nothing to do with him. Rumor soon spreads that Maurice is, in fact, a full-blooded royal prince traveling in disguise. And if he is a prince of the rank they think he is, then suddenly the Princess's marital and romantic prospects seem a lot more encouraging, especially as she begins to melt to his charm. Maurice wants to tell her the truth, but will she feel the same way about him, knowing that he is a commoner, a tradesman ... a tailor? Director Rouben Mamoulian had already jump-started the musical genre with the backstage drama Applause (1929), to great critical and financial success. In contrast to that movie's deceptively naturalistic approach to its subject, Love Me Tonight was highly stylized -- Applause had no actual musical numbers in complete form, while Love Me Tonight was filled with incredibly elaborate and subtle musical set-pieces that grow naturally out of the plot (adapted from a play by Paul Armont and Leopold Marchand) and advanced the narrative. Some of the scenes here helped set the stage for works such as An American In Paris and Gigi (one scene near the end, when Maurice's identity is revealed, seems to have been the model for "The Gossips At Maxim's" from the latter film) and Funny Face. Such is Love Me Tonight's reputation, that in the summer of 2007, 75 years after its release and more than five years after it showed up on DVD, the movie chalked up sell-out audiences when it opened the Mamoulian retrospective at New York's Film Forum. ~ Bruce Eder, All Movie Guide

A night club owner under heavy police protection is murdered anyway, and a clever police commissioner figures out that it was her mother, who used a scorpion as the murder weapon. ~ Steve Huey, All Movie Guide

In this murder mystery, a nurse with an unusual eye for detail solves a puzzling case. ~ Sandra Brennan, All Movie Guide