Herbert Ashley Movies

Otto Preminger directed this stylish film noir exercise, intended as a follow-up to his surprise hit Laura. Kicked off a bus traveling cross-country for not being able to come up with the fare, down-and-out press agent Eric Stanton (Dana Andrews) ends up in Walton, a small coastal town in California. Stanton fast-talks Joe Ellis (Olin Howland) into giving him a place to stay for the night in exchange for promoting Professor Madley (John Carradine), a "mentalist" whose show Ellis manages. While in Walton, Stanton makes the acquaintance of June Mills (Alice Faye), a wealthy but reclusive young woman, and has his eye on Stella (Linda Darnell), a good-looking waitress working at the local diner. Thanks to Madley, Stanton learns a few things about June, and when Ellis and the professor pull up stakes after a successful engagement, Stanton opts to stay behind, hoping to win Stella's heart. Gold digger Stella makes it known that she has no interest in Stanton unless he comes into a lot of money, but June has made her interest in Stanton quite clear. Stanton hatches a plan: he'll marry June, take her money, divorce her, and then take up with Stella. Stanton and June do in fact marry, but just as he's about to give her the brush-off, Stella turns up dead. Mark Judd (Charles Bickford), a retired cop-turned-detective, is investigating the murder, and while the initial suspect is Dave Atkins (Bruce Cabot), Stella's ne'er-do-well ex-boyfriend, Judd's focus eventually falls on Stanton. Stanton flees Walton for San Francisco, with ever-loyal June at his side; he quickly abandons her after taking her money, but he returns to her side when word reaches him that June has been charged with Stella's murder. Fallen Angel marked a dramatic change of pace for Alice Faye; however, she was very unhappy with how Preminger edited her performance, convinced that much of her best work ended up on the cutting-room floor. Faye was so angry that she quit the movie business altogether and didn't appear in another film until State Fair in 1962. ~ Mark Deming, All Movie Guide

Melodramatic gangster action characterizes this tough and freely fictionalized biography of notorious, murderous Chicago mobster Roger Touhy. Set during Prohibition, it centers on Touhy's rise from small time thug to the city's most powerful bootlegger whose empire is rivaled only by that of Al Capone (who is referred to, but never named in the story). It is his rival who frames Touhy for kidnapping and arranges for him to serve a life-long term in Stateville prison. Determined to be free again, the desperate Touhy and his cellmate Basil "the Owl" Banghart, begin plotting a violent break out. ~ Sandra Brennan, All Movie Guide

Producer Walter Wanger's House Across the Bay serves as an excellent showcase for Wanger's then-wife Joan Bennett. She is cast as nightclub singer Brenda Bentley, the wife of high-rolling gambler Steve Lawrett (George Raft). When Steve is railroaded into Alcatraz by duplicitous attorney Slant Kolma (Lloyd Nolan), Brenda promises to remain faithful to her husband during his incarceration, even going so far as to purchase an apartment "across the bay" from the island prison so that she can be near him. But while Steve is serving his time, he discovers that Brenda has succumbed to the charms (and innate decency) of handsome Tim Nolan (Walter Pidgeon). Enraged, Steve vows to kill Nolan, staging a daring escape attempt to realize his goal. But will Steve be able to get off "the rock" in one piece, succeeding where so many others have failed? ~ Hal Erickson, All Movie Guide

Mignight Limited takes place during an eventful nonstop train trip from New York to Montreal. A couple of murders take place, obliging detective Val (John King) to swing into action. There is no shortage of suspects, but Val refuses to believe that pretty Joan (Marjorie Reynolds) is the guilty party-and, of course, his instincts are credit. George Cleveland steals the show as a seemingly eccentric professor, a character obviously inspired by the addlepated religious fanatic in Hecht and MacArthur's Twentieth Century. For reasons best known to the Monogram executives, Midnight Limited is interrupted halfway through with a song performed by hero John King. ~ Hal Erickson, All Movie Guide

In this romance, a young woman journeys from Syracuse to New York to see her sweetheart, a prominent architect. She is bitterly disappointed to discover that he has lost interest in her. The residents of the women's hotel at which she stays offer the heartbroken lass words of encouragement. They tell her to take a stand and to show him what he is missing. She takes their advice and becomes a renowned fashion model. Naturally this piques the designer's interest and he wishes to court her anew. Of course, she by then has many suitors, so he must really work to win her back. ~ Sandra Brennan, All Movie Guide

Carole Lombard stars as Helen Bartlett, a compulsive liar who always tips the audience to an oncoming whopper by sticking her tongue in her cheek. Helen is married to a Kenneth Bartlett, a scrupulously honest lawyer whose integrity has always held him back professionally. Hoping to help Kenneth get ahead, Helen confesses to a murder she obviously didn't commit, confident that he'll get her off and make his reputation. But things don't go exactly as planned, thanks largely to a mysterious eccentric named Charley (John Barrymore), who assures the heroine over and over that she'll "fry." Once considered a prime example of screwball comedy, True Confession is now regarded by film buffs as one of Carole Lombard's worst pictures: it wasn't much better when remade by Betty Hutton in 1946 as Cross My Heart. ~ Hal Erickson, All Movie Guide

In this lively musical, an eccentric philanthropist's will dictates that four people receive $5,000 with the stipulation that the first one who can double the amount-- without dishonesty-- will win a cool million. Hindering the four are the avaricious relatives of the late millionaire. Songs include: "It's On, It's Off," "Double or Nothing," "Listen My Children," "Smarty," "The Moon Got in My Eyes" and "After You." ~ Sandra Brennan, All Movie Guide

Slightly reminiscent of Frank Capra's Platinum Blonde (31), this screwball comedy features those two stalwarts of 1930s comedies: The brash reporter and the giddy heiress. Tyrone Power is the reporter, who makes his living writing about the foibles of the idle rich. His special target is heiress Loretta Young, the daughter of an influential financier (Dudley Digges). Young gets even by announcing her engagement to Power; now it's his turn to have his every movement scrutinized by the Public. Both reporter and heiress connive to embarrass one another, but (as expected) they're headed for the altar at fadeout time. Love is News was remade in 1949 as That Wonderful Urge, with Tyrone Power reprising his role and Gene Tierney in the Loretta Young part. ~ Hal Erickson, All Movie Guide

Jean Harlow offers her final screen performance in this witty and -- in retrospect -- quite moving racetrack comedy-drama co-starring Clark Gable and Walter Pidgeon. When her father dies shortly after losing his horse farm to Duke Bradley (Gable), Carol Clayton (Harlow) refuses the handsome bookmaker's offer to forget the debt and instead vows to pay him back in full. She even forbids her stockbroker fiancé, Harley Madison (Pidgeon), to make wagers that may benefit Duke, but promises to marry him once her champion horse wins at Saratoga. But against all the odds, Carol falls in love with Duke and when he appears in danger of ruination, she finds herself rooting for the competitor to win the all-important race. Saratoga, which was finished using both onscreen and voice doubles for Jean Harlow, was partially filmed on-location at Lexington and Louisville, KY, and in Saratoga Springs, NY. ~ Hans J. Wollstein, All Movie Guide

Warner Baxter plays the ambitious producer of a burlesque show who rises to the big time on Broadway. Alice Faye is the loyal burleycue singer who helps make Baxter a success. His head turned by sudden fame, Baxter falls under the spell of a society woman (Mona Barrie) who has theatrical aspirations of her own. She marries Baxter, then convinces him to produce a string of "artistic" plays rather than his extravagant musical revues. The plays are flops, and the woman haughtily divorces Baxter. Faithful Alice Faye, who'd gone to London when her ex-beau was married, returns to the penniless Baxter. She and her burlesque buddies team up to pull Baxter out of his rut and put him on top again. ~ Hal Erickson, All Movie Guide

Stage Struck is one of the least known of Busby Berkeley's Warner Bros. musicals, chiefly because there are no major production numbers. The plot is that old saw about young, unknown hopefuls who put on a Big Show and become overnight stars. Alas, the magic didn't work for leading lady Jeanne Madden, who disappeared from films shortly after this brief bid for fame. The film's highlight is a satirical number by the Yacht Club Boys, a "nut" singing group best described as the Gentile Ritz Brothers. The songs for Stage Struck were written by E. Y. Harburg and Harold Arlen, whose talents would be displayed to better advantage in 1939's Wizard of Oz. ~ Hal Erickson, All Movie Guide

Bing Crosby's only western (outside of the 1966 version of Stagecoach), Rhythm on the Range stars Crosby as a casual cowpoke on his way back to the Wide Open Spaces after an eastern visit. He meets a young train stowaway (Frances Farmer), whom he regards as a hoydenish vagabond until learning that she's the owner of the ranch where he works. Farmer resists Crosby's charms until he rescues her from a gang of rustlers. Among the supporting cast is Mischa Auer, Bob "Bazooka" Burns, and, in her film debut, 19-year-old Martha Raye. The film also introduces the song hit "I'm an Old Cowhand", which is sung at one point or another by everyone in the cast, including Russian-born Mischa Auer. Rhythm on the Range was remade in 1956 as Pardners, with a few minor alterations--notably the casting of Jerry Lewis in the Frances Farmer role! ~ Hal Erickson, All Movie Guide

Alice Faye, Frances Langford, and Patsy Kelly play three humble factory workers (with a Hollywoodized wardrobe beyond the budget of any genuine factory girl) who occasionally sing together for the fun of it. They harbor dreams of becoming famous, but the prospect isn't likely until bandleader George Raft hears the girls harmonizing. He promotes the girls into top radio stars, while each of the girls entertains romantic thoughts about Raft. (And yes, he does win one of them romantically, at the end of the picture). The likable but unimportant Every Night at Eight sparked a minor controversy in the rarefied world of 1960s film criticism. "Auteur" theorist Andrew Sarris pointed out a brief scene in which star George Raft awakens from a nightmare, cited other such scenes in the work of director Raoul Walsh, and used this "evidence" to support his theory that Walsh was a true auteur who left his "signature" on each of his films. Anti-auterist Pauline Kael spoke for many when she advised Sarris to go fly a kite. ~ Hal Erickson, All Movie Guide