Renée Gadd Movies

Good Time Girl, directed by David MacDonald and based on a story by Arthur La Bern (It Always Rains On Sunday) starts off unpromisingly, as juvenile justice official Flora Robson tries to keep a would-be female felon on the straight-and-narrow, telling the cautionary tale of Gwen Rawlings (Jean Kent). A victim of an unhappy home and her own stupidity, Rawlings leaves home and, with help from her sleazy new neighbor Jimmy Rosso (Peter Glenville, the future director), gets a job as a hat-check girl at a club run by Max Vine (erbert Lom). But Jimmy's jealousy soon gets him fired, and leaves him aiming for revenge on Max and Gwen. Despite the best efforts of Michael Farrell (Dennis Price), the one truly decent man she's ever met, Jimmy achieves his goal and Gwen is sent to a reformatory. It is there that she's truly corrupted by being locked up with more seasoned juvenile (and not so juvenile) felons, who know how to game the system -- whem she escapes, she's a professional criminal, and, taking on a new alias, falls in with a pair of loose-living gents. She manages to commit a vehicular homicide, and then falls in with a pair of American military deserters (Bonar Colleano, Hugh McDermott) who aren't above committing pre-meditated murder. ~ Bruce Eder, All Movie Guide

Considered the greatest horror anthology film, the classic British chiller Dead of Night features five stories of supernatural terror from four different directors, yet it ultimately feels like a unified whole. The framing device is simple but unsettling, as a group of strangers find themselves inexplicably gathered at an isolated country estate, uncertain why they have come. The topic of conversation soon turns to the world of dreams and nightmares, and each guest shares a frightening event from his/her own past. Many of these tales have become famous, including Basil Dearden's opening vignette about a ghostly driver with "room for one more" in the back of his hearse. Equally eerie are Robert Hamer's look at a haunted antique mirror that gradually begins to possess its owner's soul, and Alberto Cavalcanti's ghost story about a mysterious young girl during a Christmas party. Legendary Ealing comedy director Charles Crichton lightens the mood with an amusing interlude about the spirit of a deceased golfer haunting his former partner, leaving viewers vulnerable to Cavalcanti's superb and much-imitated closing segment, about a ventriloquist (Michael Redgrave) slowly driven mad when his dummy appears to come to life. Deservedly acclaimed and highly influential, Dead of Night's episodic structure inspired an entire genre of lesser imitators. ~ Judd Blaise, All Movie Guide

Bob Randall (Richard Greene) is a reporter who gets to witness first-hand the British retreat from Dunkirk in May of 1940. He returns to his job in a London now facing nightly German bombing raids, and finds himself saddled with Carol Bennett (Valerie Hobson), a neophyte reporter. Bob is eager to take on the Nazis and, in the absence of any on the ground that he can fight, he turns to the leaders of a pacifist movement, The People for Peace. But no sooner does he start to look into who they are than he finds himself being shadowed by mysterious men and stirring up a hornet's nest of activity in his wake. While Carol tries to keep up and do her bit, and Bob tries to look out for her and find out just what he's stepped into -- which soon involves kidnappings and murder -- the German bombers keep coming and the newspaper's survival is threatened. Bob and Carol are drawn together romantically in the midst of these overlapping crises, and manage to find some time for each other while helping their long-suffering editor (Brefni O'Rourke) save the newspaper and the British secret service save the country. ~ Bruce Eder, All Movie Guide

In 1954 there was Godzilla, the lizard transformed by radiation, and in 1959, the British gave us Behemoth, the Sea Monster, Godzilla's Anglo, radiated cousin. Now there is the "man of steel" in this undistinguished, "B"-grade, sci-fi melodrama that was the last film directed by Allan Dwan. The unsuspecting Eddie Candell (Ron Randell) is on the lam from a crime he never committed when he is exposed to a dangerous, radioactive cobalt substance emanating from an atomic bomb test site in the desert. This exposure does not cause cancer or radiation sickness; it turns Eddie's epidermis into an iron-clad suit of armor that no bullet can penetrate. Thus protected, Eddie the human tank decides to wreak revenge on the villains who framed him for that crime. The only question is not whether he will rust, but whether this odd skin condition is as permanent as it seems. ~ Eleanor Mannikka, All Movie Guide

In this romance a run away schoolgirl impersonates a socialite to hook a handsome RAF pilot. ~ Sandra Brennan, All Movie Guide

In this comedy, a philandering playboy tires of the fast lane and decides to marry his current girl friend. At the reception, his best friend begins regaling the girl with stories of her new husband's romantic exploits. The bride becomes terribly upset, causing her groom to whisk her out and begin their honeymoon. Things don't get any calmer as they run in to a number of strange characters. The best friend's wife, who recently left him, is among them. Meanwhile, the poor bride has difficulty deciding whether or not she should stay married to the playboy. ~ Sandra Brennan, All Movie Guide

David Copperfield was MGM's major Christmas release for its 1934-1935 season and also the first of producer David O. Selznick's major "literary" films for that studio. While a great deal of editing and streamlining was necessary to distill Charles Dickens' massive novel into 133 minutes of screen time, the end result was so successful that only the nittiest of nitpickers complained about the excised characters and events. Freddie Bartholomew plays the young Copperfield, who, after the death of his mother (Elizabeth Allan), is cruelly mistreated by his stepfather, Mr. Murdstone (Basil Rathbone). David's life brightens when he meets the ever-in-debt Mr. Micawber (W.C. Fields), and he is sheltered by Micawber's large and loving family until Micawber is carted off to debtor's prison. Forced once more to seek a home, David makes his way to the Dover estate of his Aunt Betsey (Edna May Oliver), where he meets another colorful cast of characters, none more so than the childlike Mr. Dick (Lennox Pawle). When Murdstone arrives, insisting that David be returned to him, Aunt Betsey and Mr. Dick form a united front to protect the boy. Flash-forward several years: the grown David (now played by Frank Lawton) is attending school, where he meets the lovely Agnes Wickfield (Madge Evans). David discovers that Agnes' businessman father (Lewis Stone) is under the thumb of the "'umble" prevaricator Uriah Heep (Roland Young) and the equally disreputable Steerforth (Hugh Williams). With the help of Mr. Micawber-who in a weak moment has taken a job working side-by-side with Heep-David proves Heep's treachery and rescues the Wickfields. By rights, he should marry Agnes, but David impulsively weds the empty-headed Dora (Maureen O'Sullivan). Only after Dora's death does David come to his senses, realizing that Agnes is the true love of his life. Originally, Charles Laughton was slated to play Micawber, but he pulled out of the production, worried that he wouldn't be funny enough. The casting of W.C. Fields was an inspired choice: although he injects his own established screen personality at every opportunity, Fields was born to play Micawber. Likewise, second-billed Lionel Barrymore fits his portrayal of crusty old Dan Peggoty like a glove. In fact, there isn't a false bit of casting in the whole production, and this, as much as Selznick's sumptuous production values, is the key to David Copperfield's enormous success. ~ Hal Erickson, All Movie Guide

Nils Asther stars as Dr. Callendar, a modern-day Svengali who hypnotizes women to do his eeeevil bidding. Callendar is particularly fond of preying upon married or engaged women, taking fiendish delight in stealing them away from their husbands and sweethearts. Dr. Norman Ware (Paul Kelly) begins to suspect something when his intended Alice Trask (Gloria Stuart) starts walking around in a trance, but he can prove nothing. Ultimately, however, Callendar is undone when he makes the tactical error of hypnotizing two ladies at once. This leads to a spectacular climax, in which vengeful lawyer Roger Loft (Alan Dinehart) tricks Callendar into putting him under a spell, thereby giving Loft a perfect "couldn't help himself" alibi when he shoots the caddish mesmerist in full view of an astonished theater audience. ~ Hal Erickson, All Movie Guide

In this comedy, a naive young woman works as a servant for a home sublet to thieves. When she and the window cleaner overhear the crooks plotting to rob an heiress during an upcoming ball, the two decide to intervene rather than call the police. They then dress up and go to the ball. ~ Sandra Brennan, All Movie Guide

The crackerjack director/cinematographer team of Harry Lachman and Rudolph Mate (Dante's Inferno, Our Relations) brought an extra veneer of class to the 1932 Gertrude Lawrence vehicle Aren't We All. She plays a shy and retiring lass who harbors a secret past indiscretion. Her "shameful" secret is revealed just as she plans to marry wealthy Owen Nares. The future husband expresses outrage, but his father Hugh Wakefield comes to Lawrence's rescue by exposing one or two of Nares' past peccadillos, and by inviting the girl's former lover to state his case. This British drawing room comedy was based on a stage play by the prolific Frederick Lonsdale. ~ Hal Erickson, All Movie Guide

In this romantic comedy, an impoverished gambler falls in love with a coquette playing hard-to-get. The fellow's luck changes when he is mistaken for a prominent banker. Although, now enjoying the highlife-thanks to the error, he still cannot get the girl. Instead, he decides to run to the Riviera with her pretty maid. ~ Sandra Brennan, All Movie Guide