Edward Gargan Movies

Danny Kaye plays the first of his cinematic dual roles in Goldwyn's Wonder Man. Kaye appears as timid librarian Edwin Dingle and Edwin's extroverted twin brother, nightclub entertainer Buzzy Bellew. When Buzzy witnesses a gangland shooting, he himself is rubbed out by mob boss Ten-Grand Jackson (Steve Cochran, in his movie debut). Before long, Edwin is visited by Buzzy's ghost, who persuades his bookish brother to help bring Jackson to justice. For the rest of the film, poor Edwin is possessed by his brother's sportive spirit, causing no end of confusion for Edwin's demure lady friend Ellen Shanley (Virginia Mayo) and Buzzy's more outgoing girlfriend, dancer Midge Mallon (Vera-Ellen, also making her first film appearance). Done up in splashy Technicolor, Wonder Man is perhaps Kaye's best Goldwyn-produced vehicle, permitting him to play a character (or characters) rather than a caricature. Highlights include an opera spoof (a variation of which showed up in Kaye's 1954 feature Knock on Wood), Danny's allergic rendition of "Otchi Chornya," and a wonderful vignette wherein Kaye imitates all the "inhabitants" of a pet shop. ~ Hal Erickson, All Movie Guide

Laurel & Hardy's last American film is a marked improvement over their previous 20th Century-Fox features, though still not in the same league as their 1930s classics. Stan and Ollie play a couple of detectives from Peoria, Illinois, who fly to Mexico City to arrest the notorious Larceny Nell (Carol Andrews). Their South-of-the-Border visit coincides with the much-anticipated arrival of famed Spanish bullfighter Don Sebastian-who happens to be the exact double of Stan Laurel! When Don Sebastian's Mexican debut is delayed by passport problems, press agent Hotshot Coleman (Richard Lane) persuades Stan to take the toreador's place in the bullring. Stan is understandably reluctant until Hotshot threatens to turn the boys over to his business partner, sports promoter Richard K. Muldoon (Ralph Sanford). It seems that several years earlier, Stan and Ollie wrongly sent Muldoon to prison; upon his release, he vowed to someday catch up with the boys and literally skin them alive ("First the little one, then the big one!") With this threat hanging over their heads, Laurel & Hardy are forced to acquiesce to Hotshot's scheme-leading to a chaotic nightclub incident, a hectic misadventure at a bull farm, and a climactic riot at the bull arena when the real Don Sebastian finally shows up. Though it falls apart in the final reel thanks to an overabundance of mismatched stock footage gleaned from Blood and Sand (1941), The Bullfighters is for the most part a fond throwback to Laurel & Hardy's glory days: the highlight is an egg-breaking routine revived from 1934's Hollywood Party. Curiously, none of the reviewers in 1945 mentioned the film's grotesquely hilarious closing gag, which must be seen to be believed. Rory Calhoun (billed as Frank McCown) shows up in a bit as a rival bullfighter. ~ Hal Erickson, All Movie Guide

The murder of a wealthy, much-married rancher (Lyle Talbot) in a posh Manhattan nightclub is the catalyst for The Falcon Out West. Amateur sleuth Tom Lawrence (Tom Conway), aka The Falcon, deduces that the victim was killed with rattlesnake venom. He follows the trail of evidence to a dude ranch in a frontier town. The suspects include pretty Marion (Barbara Hale) and Vanessa (Carol Gallegher) and not-so-pretty Bates (Minor Watson) and Hayde (Don Douglas). Though Tom Conway seems bored and distracted throughout The Falcon Out West, the film itself is an above-average "Falcon" series entry. ~ Hal Erickson, All Movie Guide

Roy Rogers and Dale Evans still weren't man and wife when they costarred in Republic's San Fernando Valley. As always, Rogers is cast as a cowboy who happens to be named Roy Rogers; Evans, on the other hand, plays feisty femme ranchowner Dale Kenyon. At the behest of Dale's grandfather (Andrew Tombes), Roy does the "Taming of the Shrew" bit, taking a job as ranch cook so he can woo and win the volatile Miss Kenyon. He also takes time out to capture a couple of bank robbers who'd earlier relieved him of his life savings. Many of the film's best scenes belong to hoydenish Jean Porter, cast as Dale's bratty kid sister: Ms. Porter would later retire from films to marry director Edward Dmytryk. ~ Hal Erickson, All Movie Guide

The first of two Monogram comedy-mysteries built around the talents of perky Jean Parker, Detective Kitty O'Day casts Parker in (what else?) the title role. A switchboard operator who aspires to be a sleuth, Kitty insists upon being in on the investigation when her boss is murdered. This causes no end of headaches for Kitty's boyfriend Johnny Jones (Peter Cookson, in his first major screen role). Tim Ryan, who doubled as screenwriter, is seen as Inspector Miles, who strongly suspects that Kitty herself was the murderer. The film's economies are evident when the dead bodies begin piling up and dummies are substituted for the corpses. More frantic than funny, Detective Kitty O'Day did well enough at the box-office to warrant a decidedly superior sequel, The Adventures of Kitty O'Day. ~ Hal Erickson, All Movie Guide

In Old Oklahoma is better known today by its reissue title, War of the Wildcats. John Wayne heads the cast as oil man Dan Somers, who carries on a bitter feud with his crooked rival Hunk Gardner (Albert Dekker). Furthering the animosity between the two men is schoolteacher-turned-novelist Catherine Allen (Martha Scott), with whom both Dan and Hunk fall in love. The main story and the romantic second story both come to a head when Dan is offered a valuable contract if he can deliver an oil shipment within a specific deadline. Naturally, Hunk does everything he can to keep Dan from fulfilling his contract, resulting in a thrill-packed chase sequence that served as stock footage for many a future Republic western and serial. A pre-Roy Rogers Dale Evans costars as sexy dancehall chanteuse "Cuddles" Walker. ~ Hal Erickson, All Movie Guide

Practically everybody on the Warner Bros. lot shows up in the wartime morale-boosting musical extravaganza Thank Your Lucky Stars. Believe it or not, this one has a wisp of a plot. A pair of enterprising producers, played by S.Z. Sakall and Edward Everett Horton, want to hire singer Dinah Shore for their upcoming Cavalcade of Stars. Unfortunately, this means they must deal with Shore's boss, radio comedian Eddie Cantor. The egotistical Cantor insists upon joining the show himself, driving everyone crazy with his take-charge attitude. Meanwhile, singer Dennis Morgan, hoodwinked by a crooked agent into thinking he's signed a contract with Cantor, shows up backstage at Sakall and Horton's rehearsal, only to be given the boot. While all this is going on, aspiring actress Joan Leslie has befriended a bus driver named Joe Simpson--who happens to be a dead ringer for Eddie Cantor (and why not? Ol' "Banjo Eyes" plays both parts). Turns out that Joe is another showbiz wannabe, but he has been denied a break because he looks too much like Cantor. You see what's comin' now, right, folks? Morgan and Leslie will get their big breaks when Joe Simpson impersonates Eddie Cantor, who's been kidnapped by Indians (bet you didn't see that one coming!) All of this expository nonsense is merely an excuse to show off Warners' talent roster in a series of engaging specialty numbers: John Garfield talk-sings Blues in the Night, Jack Carson and Alan Hale do a buck-and-wing, a jitterbug number is performed by Ida Lupino, Olivia de Havilland and George Tobias, Hattie McDaniel and Willie Best strut their stuff in Ice Cold Katie, and so on. Highlights include Errol Flynn's That's What You Jolly Well Get, an English music hall-style sendup of Flynn's movie heroics, and Bette Davis' peerless (and endearingly off-key) rendition of They're Either too Young or Too Old. As a bonus, Humphrey Bogart shows up long enough to be browbeaten and intimidated by S.Z. Sakall ("Gee, I hope none of my movie fans see this!" moans Bogart as the soundtrack plays a mocking rendition of Who's Afraid of the Big Bad Wolf?) Subtle and sophisticated it isn't, but Thank Your Lucky Stars is so entertaining that you'll forget all about its multitude of flaws. ~ Hal Erickson, All Movie Guide

Don "Red" Barry took a break from westerns to star in the fair-to-middling sentimental drama The West Side Kid. Barry is cast as gangster Johnny April, who upon being sprung from prison is hired by dispirited millionaire Sam Winston (Henry Hull). Fed up with his selfish family, Winston wants to end it all and pays Johnny $25,000 to bump him off. Instead, Johnny takes a liking to the old coot, and sets about to reform Winston's profligate family. Dale Evans, future "Queen of the West," is intriguingly cast as Winston's spoiled-rotten daughter Gloria. ~ Hal Erickson, All Movie Guide

When an instructor dies mysteriously at an exclusive girl's school, Tom Lawrence (Tom Conway), a devil-may-care sleuth known as "The Falcon," reluctantly agrees to investigate. The death appears to have been induced by a heart attack, but the instructor's roommate (Rita Corday) had predicted that the victim would be murdered. The school's dean (Barbara Brown) dies shortly afterward, and suspicion falls upon the fencing instructor (Jean Brooks), who'd been in line to inherit the school. Other suspects include a foreign psychology professor (George Givot), who'd once courted the fencing teacher, and a meek music teacher (Isabel Jewell), to whom the foreign prof is secretly married. The murderer is revealed in a heart-stopping climactic scene played out on a perilous cliff overlooking the ocean. The Falcon and the Co-Eds is the sixth film in RKO Radio's "Falcon" series. ~ Hal Erickson, All Movie Guide

The Abbott & Costello vehicle Hit the Ice started life as satire of health clinics, with Lou Costello cast as a hypochondriac who used a streetcar conductor's change-purse to dispense pills to himself. By the time the film hit the screens, it was a standard A&C melange of comedy, music and fast-paced chase scenes, with nary a pill in sight. Bud and Lou are cast as would-be photojournalists Flash and Tubby, who inadvertently snap a picture of two bank robbers leaving the scene of the crime. Accused of knocking over the bank themselves, our heroes find it expedient to hide out at a Sun Valley ski resort. Here they tie up with Silky Fellowsby (Sheldon Leonard), the mastermind of the bank heist, who is led to believe that Flash and Tubby are a couple of Detroit "hit men". In the course of events, Tubby falls in love with Silky's girl Marcia Manning (Ginny Simms), romancing her by pretending (with Flash's dubious assistance) to be an accomplished concert pianist. The final confrontation with the crooks leads to an elaborate chase on skis, with all manner of hilarious (and wildly impossible) sight gags. The barely necessary romantic subplot involves doctor Bill Elliot (Patric Knowles) and nurse Peggy Osborne (played by Elyse Knox, the mother of actor Mark Harmon). Best bits: the classic "packing-unpacking routine, a zany skating sequence, and the old "I'll bet I can stand next to you and you can't touch me" chestnut. Hit the Ice was Lou Costello's last film before rheumatic fever kept him off screen for a full year. ~ Hal Erickson, All Movie Guide

The plot of the RKO Radio programmer The Falcon Takes Over will be instantly recognizable to anyone who has seen the 1944 Philip Marlowe mystery Murder My Sweet: indeed, both films were based on the same Raymond Chandler novel, Farewell My Lovely. It all begins when brutish prison escapee Moose Malloy (Ward Bond) forces nervous Broadwayite Goldie Locke (Allen Jenkins) to drive him to a posh nightclub, where Moose hopes to be reunited with his old girlfriend. Unable to find his elusive sweetheart, Moose tears the joint apart, obliging Goldie to flee for his life. As it happens, Goldie is the assisant of private eye Gay Lawrence (George Sanders), aka The Falcon, who has been hired by foppish socialite Lindsey Marriot (Hans Conried) to ransom a necklace stolen from Marriot's lady friend Diane Kenyon (Helen Gilbert). Shortly afterward, Marriot is murdered, and the Falcon discovers that there's an inextricable link between the dead man and the inimitable Moose Malloy. The rest of the film follows the plot convolutions set down by Chandler in Farewell My Lovely, carefully retailed to suit the breezy urbanity of George Sanders as the Falcon. Though Murder My Sweet is the better of the two versions of the Chandler novel, The Falcon Takes Over has a few advantages of its own, notably the casting of future Oscar winner Ann Revere as blowzy murder suspect Jessie Florian. ~ Hal Erickson, All Movie Guide

When George Sanders announced that he was leaving the "Falcon" series, RKO Radio came up with the perfect replacement: Sanders' own brother, Tom Conway. The transition was handled with style in The Falcon's Brother, with private detective Gay Lawrence (Sanders), aka The Falcon, incapacitated early in the proceedings. Anxious to break up an Axis spy ring, Gay calls upon his brother Tom (Tom Conway) to help out. The villains intend to foment a rift in the relationship between North and South America, which Tom, with the aid of intrepid heroine Marcia (Jane Randolph) and dopey sidekick Goldy (Don Barclay), hopes to prevent. By film's end, Tom Lawrence has assumed his brother's mantle as the Falcon, and the Falcon he would remain for the next eight entries in the series. ~ Hal Erickson, All Movie Guide