Jack Gardner Movies

John Steinbeck cowrote this sometimes hilarious, sometimes heart-wrenching study of small-town hypocrisy. Shiftless Benny (who is never seen) has been tossed out of his Southern California town by the "proper" citizens. Drafted into the army, Benny is killed in action--and now that he's a hero, his old home town gears up for a Congressional Medal of Honor ceremony. Suddenly the same upright townsfolk who'd previously scorned Benny and his impoverished father (J. Carroll Naish) bend over backward to prove how much they "loved" the boy. Only Dorothy Lamour, playing Benny's former sweetheart, sees through the sham, though she's honor bound to celebrate Benny's heroism. A Medal for Benny bestows top billing upon Lamour, but the film's true star is J. Carroll Naish as Benny's volatile Italian papa--a performance which won Naish an Academy Award nomination. ~ Hal Erickson, All Movie Guide

Directed by Fritz Lang, The Woman in the Window, a sadly tragic film noir, is the story of the doomed love of married psychology-professor Wanley (Edward G. Robinson), who, with murderous results, meets and falls in love with another woman. Wanley first sees the portrait of a beautiful woman, Alice (Joan Bennett), and then meets the woman herself. After committing murder in self-defense, he finds himself blackmailed by Heidt (Dan Duryea). The script, written by Nunnally Johnson, is carefully structured with crisp dialogue and a convincing ending. Lang is at his best, getting excellent performances from Robinson, as the doomed, naive professor, and Bennett both. The Woman in the Window shows that good and evil are present in all, and that circumstances frequently dictate moral choices. Based on J.H. Wallis' novel Once Off Guard, the film gives viewers their money's worth with not one but two logical and satisfying surprise twists at the end. ~ Linda Rasmussen, All Movie Guide

On the eve of their 50th anniversary, a couple argue about whether or not to reveal a story from the husband's past that explains how they met and came to be married. We flashback to the mid-1890's and Larry Stevens' (Dick Powell} first day on the job as a reporter for a New York newspaper -- celebrating his release from writing obituaries with a few too many beers, he and his colleagues start to listen to aging newspaper employee Pop Benson (John Philliber) talk about the past and the future, and the fact that to him they're interchangeable. Larry goes out with his friends to check out a clairvoyant act featuring Cigolini, a phony Italian mystic (Jack Oakie), and a very pretty woman assistant, Sylvia Smith (Linda Darnell). He starts to woo Sylvia, who resists his charms, before heading back to the newspaper, where he meets Pop, who hands him what he says is the newspaper he wanted -- it's only later that Larry realizes that he has tomorrow night's newspaper, and that one story concerns a robbery at the opera house. He gets to the performance that night, with Sylvia accompanying him (at first unwillingly) and witnesses the robbery, writing it up before the police can even leave the scene. His editor (George Cleveland) is ecstatic, but police inspector Mulrooney (Edgar Kennedy) wants to know how Larry knew about the robbery. Sylvia tries to protect him by claiming that she predicted it in her act, and to cover herself and Larry she predicts the drowning of a woman that night in the river. Meanwhile, Larry meets Pop again, who tells him of tomorrow's paper and its account of his attempted rescue of a drowning woman -- he later realizes that the woman is Sylvia, attempting to save him and having to fake a drowning to convince the police of her predictions; he runs to the river and dives in to rescue her. By this time, the two of them are totally involved with each other emotionally, but now Larry must face a new threat. Pop appears again and hands him a newspaper from the next day, which includes a front page story about Larry being shot and killed at the St.George Hotel. Larry vows to avoid the hotel at all costs, and even tries to get some good out of the paper by betting on the winners in five consecutive horse races that afternoon; but it seems that no matter what he does to stay away, he's destined to be at the hotel, at the appointed time. ~ Bruce Eder, All Movie Guide

This 91-minute Republic "special" stars Michael O'Shea as Matt Braddock, an aggressive Henry Kaiser-like shipbuilder operating in 1880s California Though his business innovations are brilliant, Braddock's pugnacious attitude loses him the support of the locals when he plans to build a big new shipyard in a small coastal community. Eventually he perseveres, bringing the story to a rousing conclusion. Along the way, however, there's a bit too much emphasis on the hot-and-cold romance between Braddock and the lovely Diana Kennedy (Anne Shirley). Tommy Bond, the former Butch in the "Our Gang" comedies, registers well in a sympathetic supporting role (Bond later noted that this was one of his favorite films). ~ Hal Erickson, All Movie Guide

Another of a wartime cycle of Hollywood films lauding the praises of America's Soviet allies, Three Russian Girls is a remake of Russia's The Girl From Stalingrad. Set just after the Nazi invasion of the Soviet Union in 1941, the film stars Anna Sten as Natasha, a Red Cross volunteer who is dispatched to a field hospital located in an old pre-revolution mansion. American test pilot John Hill (Kent Smith), who'd been in Russia on a goodwill mission, is wounded in battle and brought to the hospital. As he slowly recovers from his wounds, Hill falls in love with Natasha. A last-act crisis develops when the hospital personnel are forced to move immediately to Leningrad as the Nazis advance. Most of the "counter attack" scenes that follow were obviously lifted from the original Girl from Stalingrad. For the record, the other two "Russian girls" are played by Mimi Forsaythe and Cathy Frye. ~ Hal Erickson, All Movie Guide

In the tradition of his earlier Carnival in Flanders and Tales of Manhattan, director Julien Duvivier's Flesh and Fantasy is a "pormanteau" film, consisting of several short stories. Linking the three tales unfolded herein are clubmen Doakes (Robert Benchley) and Davis (David Hoffman), who carry on a spirited debate about Destiny. In the first story, homely Henrietta (Betty Field) is made beautiful through the love of handsome Mardi Gras reveller Michael (Robert Cummings)-and the help of an enigmatic mask-maker (Edgar Barrier). The second story, based on Oscar Wilde's "Lord Arthur Saville's Crime", concerns a fortune teller named Septimus Podgers (Thomas Mitchell) who predicts that socialite Marshall Tyler (Edward G. Robinson) will commit a murder. In the final tale, psychic high wire artist Paul Gaspar (Charles Boyer) dreams that he will meet his doom during the performance of his act-and then falls in love with Joan Stanley (Barbara Stanwyck), who looks exactly like the girl who appeared in that dream. A fourth story, detailing the doomed romance between a fugitive from justice (Alan Curtis) and a blind girl (Gloria Jean), was cut from Flesh and Fantasy, then expanded and released separately as Destiny (1944). ~ Hal Erickson, All Movie Guide

In this tuneful comedy, a would-be actor and playwright is deeply in debt, and to keep away from his creditors, begins pretending to be his aged uncle. Unfortunately he ends up getting hit by a limousine. The rich woman inside takes the wounded "codger" home to her manhungry old aunt. The actor uses the old woman's desire to con her into financing his "nephew's" play. Things are going well until the actor's real uncle appears. Mayhem and a double wedding ensue. Songs include: "St. Louis Blues" (W.C. Handy, sung by the Delta Rhythm Boys), "Don't Get Around Much Anymore" (Duke Ellington, Bob Russell, sung by the Delta Rhythm Boys), "Liza" (George Gershwin, sung by the Tailor Maids), "That's the Way It Goes" (Milton Rosen, Everett Carter, sung by Mary O'Brien), "You're Driving Me Crazy" (sung by Jan Garber and his Orchestra), "Dark Eyes" (sung by Mary O'Brien, with Jack Teagarden and His Orchestra). Other songs were penned by Walter Donaldson and W.C. Handy. ~ Sandra Brennan, All Movie Guide

Substantially, Lupe Velez' Columbia vehicle Redhead from Manhattan was the same as her previous RKO starrers-boisterous, unsubtle, and immensely profitable. La Lupe plays a dual role, as twin sisters named Rita and Elaine. Escaping from a torpedoed ship, Rita shows up in New York, where she takes the place of her Broadway-star sister Elaine, who's having problems with her marriage and needs to make a short but quick getaway. Naturally, neither Elaine's husband (Gerald Mohr) nor Rita's saxophone-player boyfriend (Michael Duane) are aware of the switch. Anyone who can't figure out what happens next should be drummed out of the theater in disgrace. And as always, a little of Lupe Velez goes a long, long way. ~ Hal Erickson, All Movie Guide

Henry's friends think he's a coward because he refuses to fight a local bully, but his reason for refusing had more to do with wanting to impress Elise, the daughter of the chemistry teacher. While in her father's lab, Elise tells Henry he misunderstood her, and points out how brave her own father is: he uses himself as a guinea pig in experiments. As Henry is holding a test tube containing his latest experimental formula, a flash of lightning scares him and he reflexively swallows the formula. Henry starts for home, but the drug starts taking affect and he wanders into Kenniston manor, a supposedly haunted house, before going home and passing out. When he awakens the next day, he has an expensive ring in his hand. He soon learns that Mr. Quid, a teacher, and Mr. Bradley, the school principal, had been in the manor at the same time he was. He also learns that Bradley has disappeared, as has the famous Kenniston ring, and that Quid has been charged in connection with these events. Afraid that, under the influence of the drug, he is responsible for Bradley's disappearance, Henry and his friends set out to discover what really happened in the haunted house. ~ Craig Butler, All Movie Guide

In this musical, a lovely and ambitious young woman masquerades as the daughter of a formerly beloved stage actress to help launch her Broadway career. She chooses one entertainment columnist in particular. But the starlet's carefully-made plans begin to unravel when a rival columnist learns of her ruse and tries to expose her. Songs include: "Let's March Together" (Saul Chaplin), "I Bumped My Head on a Star" (Cindy Walker), "Honk, Honk" (Roy Jacobs, Gene De Paul), "Timber Timber" (Don Reid, Henry Tobias), "Moon on My Pillow" (Charles, Henry, Elliot Tobias). ~ Sandra Brennan, All Movie Guide

True to Life stars Dick Powell as a radio writer in search of saleable material. He comes up with a weekly sitcom about a typical American family. To soak up inspiration, he hangs around the household of waitress Mary Martin and her parents (Ernest Truex, Mabel Paige), transcribing their conversations for use on the air. When Mary listens to the radio and discovers that Powell's attentions towards her are strictly professional, she runs to the arms of Franchot Tone. But Powell convinces her that his ardor is genuine--while musical fans are disappointed that only one song has been sung in the whole of True to Life. Devotees of two-reel comedies will note the presence of veteran second bananas Billy Bletcher and Bud Jamison as two of the "family members" in Dick Powell's radio series. ~ Hal Erickson, All Movie Guide

Aircraft plant worker Robert Cummings is accused of sabotaging his factory and causing the death of a co-worker. Actually, Cummings is the fall guy for a clever ring of Nazi spies, headed by above-suspicion American philanthropist Otto Kruger. Our hero goes on a cross-country chase after genuine saboteur Norman Lloyd, all the while pursued himself by the police. Along the way, he acquires a reluctant "travelling companion" in the form of Priscilla Lane, who at first despises Cummings and intends to turn him over to the authorities at the first opportunity, but who gradually comes to realize that the boy is innocent. Alfred Hitchcock intended Saboteur to be the American equivalent to his British The 39 Steps, employing such details as the solid-citizen villain, the handcuffed hero, the unwilling blonde heroine, and any number of stopovers with a variety of offbeat characters (a travelling "freak" show, a compassionate blind man, a grizzled old prospector who turns out to be one of the spies, etc.) ~ Hal Erickson, All Movie Guide

As she burns at the stake, a 17th century witch, Jennifer (Veronica Lake), places a curse on her accuser (Fredric March), so that from this day forward, all of his descendants (each played by him) will be unhappy in marriage. After several hilarious through-the-years examples (the Civil War-era Fredric March runs off to battle rather than endure his wife's nagging), we are brought up to 1942. Wallace Wooley (March) is a gubernatorial candidate, preparing to wed snooty socialite Estelle Masterson (Susan Hayward) -- the well-to-do daughter of a publisher who is backing him. A bolt of lightning strikes the tree where Jennifer had been executed three centuries earlier, thereby freeing the spirits of Jennifer and her warlock father, Daniel (Cecil Kellaway). Wallace meets Jennifer when she materializes in a burning building, obliging him to save her life. The revivified sorceress does everything in her power to induce Wallace to fall in love with her -- even destroying the ceremony in which the wedding is supposed to take place. The attempts succeed, and the two marry, but on their wedding night, Wallace refuses to believe Jennifer's claims that she is a witch. Frustrated, she attempts to convince him by doctoring the gubernatorial election -- in his favor. Based on the Thorne Smith novel The Passionate Witch, the rollicking I Married a Witch can be considered the forerunner of the TV series Bewitched, but only on a surface level. The film had been scheduled to be directed by Preston Sturges and to be released by its producing studio, Paramount; the end result was helmed by René Clair (his second Hollywood film), and was distributed by United Artists. ~ Hal Erickson, All Movie Guide