Hooper Atchley Movies

In this semi-remake of Love is News (37), Betty Grable stars as a Gay-Nineties Bowery saloon singer. Ever seeking an opportunity for advancement, Grable heads to London, becomes a highbrow musical comedy "artiste", and concocts a scheme to land a wealth duke (Reginald Gardiner). Her plan is foiled by a snoopy reporter (Robert Young) from the Police Gazette who has long been a thorn in Grable's side. Young's motive has nothing to do with dishing out gossip; he's in love with Betty and wants her for his own. Tuneful frolics like Sweet Rosie O'Grady seem to be the collective reason that Technicolor was invented. ~ Hal Erickson, All Movie Guide

More so than most wartime films, Mission to Moscow must be viewed within the context of its times. Requested by President Roosevelt to make a film supportive of America's Russian allies, Warner Bros. turned to the memoirs of Ambassador Joseph H. Davies, who spent several years prior to WWII in the Soviet Union. As played by Walter Huston, Davies is a pillar of incorruptable integrity, reporting the facts "as I saw them" (only in later years was Davies revealed to be something less than a paragon of virtue who was willing to alter opinions for political, personal and financial expedience). Sent to Moscow by FDR as a means of finding out if Russia is a potentially trustworthy ally in case of war, Davies and his family are given the royal treatment by the Commissars, who display the social, technological, agricultural and artistic advances made under the Stalin regime. Invariably, the Russian citizens are shown to be singing, smiling, freedom-loving rugged individuals-in contrast to the Nazis, who are depicted as humorless automatons. In its efforts to present the USSR in the best possible light, the film glosses over the notorious Purge Trials of 1937, presenting the trials as scrupulously fair and the defendants as unabashed traitors to the Soviet cause. At one point, Russia's annexation of Finland in 1939 is "justified" by Davies' explanation that the Soviets merely wanted to protect their tiny neighbor from Nazi domination! It is unfair to label Mission to Moscow as Communistic or even left-wing, since it was merely parroting the official party line vis-a-vis US/Soviet relations in 1943. Even so, screenwriter Howard Koch found it very difficult to get film work after the war because of his contributions to this "Pinko" project (conversely, Jack Warner pulled a Pontius Pilate, washing his hands of the matter by insisting that he was strongarmed into making the film). Seen objectively, Mission to Moscow is top-rank entertainment, superbly and excitingly assembled in the manner typical of Warners and director Michael Curtiz. The huge cast includes Gene Lockhart as Molotov, attorney Dudley Field Malone as Winston Churchill, Maynart Kippen as a benign, pipe-smoking Stalin, Charles Trowbridge as Secretary Cordell Hull, Leigh Whipper as Hailie Selassie, Georges Renavent as Anthony Eden and Alex Chirva as Pierre Laval, along with the more familiar faces of Ann Harding (as Mrs. Davies), George Tobias, Eleanor Parker, Moroni Olsen, Minor Watson, Jerome Cowan, Duncan Renaldo, Mike Mazurki, Frank Faylen, Edward van Sloan, Louis-Jean Heydt, Monte Blue, Robert Shayne and even Sid (sic) Charisse. Original prints of Mission to Moscow include a 6-minute prologue delivered by the real Joseph Davies. ~ Hal Erickson, All Movie Guide

The Song of Bernadette is a reverent recounting of the life of St. Bernadette of Lourdes. As a teen-aged peasant girl growing up in the tiny French village of Lourdes in the 19th century, Bernadette (Jennifer Jones) experiences a vision of the Virgin Mary in a nearby grotto. At least, she believes that she did. The religious and political "experts" of the region cannot accept the word of a silly little girl, and do their best to get her to renounce her claims. Bernadette's vision becomes a political hot potato for many years, with the authorities alternately permitting and denying the true believers' access to the grotto. No matter what the higher-ups may think of Bernadette, there is little denying that the springs of Lourdes hold some sort of recuperative powers for the sick and lame. Eventually, Bernadette dies, never faltering in her conviction that she saw the Blessed Virgin; years later, she is canonized as a saint, and the Grotto of Lourdes remains standing as a permanent shrine. The 20th Century-Fox people knew that The Song of Bernadette would whip up controversy from both the religious and the agnostic. The company took some of the "curse" off the project with a now-famous opening title: "To those who believe in God, no explanation is necessary. To those who do not believe in God, no explanation is possible." Jennifer Jones' performance in The Song of Bernadette won her the Best Actress Oscar in 1943. ~ Hal Erickson, All Movie Guide

Black Hills Express gets off to a powerful start, as hero Lon Walker (Don "Red" Barry) and his sidekick Deadeye (Wally Vernon) pick through the bloody remains of a stagecoach holdup-massacre. Vowing to catch the varmints responsible, Walker is impeded by a crooked sheriff (Jack Rockwell) and a crookeder banker (George Lewis). But justice triumphs, with some help from Walker's fists and six-guns. Ariel Heath, a promising ingenue who disappeared from pictures after a handful of films, is the heroine. One of the plusses of Black Hills Express is that it affords comedy-relief Wally Vernon an opportunity for some convincing dramatics. ~ Hal Erickson, All Movie Guide

In providing the "synopsis" for Are Husbands Necessary?, one best-selling film source says merely "And what about this film?" There's more to the story than that, of course--but not much. The film was based on Mr. and Mrs. Cugat, a novel by Frank Davis. Ray Milland and Betty Field play a warring married couple who hope to patch up their differences by adopting a baby. When Milland's ex-flame Patricia Morrison shows up unexpectedly, the fur flies. ~ Hal Erickson, All Movie Guide

Director Rouben Mamoulian completed a three-picture 20th Century Fox deal with this airy comic romance that attempted to ape the story and style of the previous year's The Lady Eve (1941) but without that film's success. While vacationing in Southern California, accountant John Wheeler (Henry Fonda) intends to purchase a boat, a luxury for which he's saved long and hard on his limited income. Maybelle (Spring Byington) and Warren (Laird Cregar), a pair of grifters on the prowl for a mark, overhear John discussing the upcoming transaction and mistake him for a millionaire. They persuade pretty sales clerk Susan Miller (Gene Tierney) to help them dupe John by pretending to be their daughter and fall in love with him. As the couple spends time together, however, Susan really does fall in love with John. She backs out of her agreement with the con artists, tells John the truth, and learns that he's not a man of means. The truth does nothing to diminish their feelings for each other, and the happy couple marries, but Warren and Maybelle are not quite done with Susan yet, and they embark on a scheme to find her a real millionaire. ~ Karl Williams, All Movie Guide

A fun though abortive bid to pair crime-solving duo Lew Ayres and Laraine Day for a series of thrillers, this murder mystery benefits from good performances by the leads. The plot involves a series of axe murders in Chicago being perpetrated by the patients of an insane asylum, all of whom have been hypnotically conditioned to kill by madman Doctor Santelle (Basil Rathbone). The plot is finally foiled by Oliver Duffy (Ayres), a former actor-turned-amateur sleuth, just in time to save his none-too-bright companion Edwina (Day). Though the suspense elements are fairly well-mounted, they are too frequently diluted by some rather ill-conceived attempts at comic relief. Despite his popularity as Doctor Kildare, Ayres' star potential would fade quickly after this film thanks to his subsequent conscientious-objector status during World War II. ~ Cavett Binion, All Movie Guide

Playwright Lillian Hellman first wrote of the horrible Hubbard family in her 1939 play The Little Foxes. In this lavish 1941 film version, Bette Davis takes over for Broadway's Tallulah Bankhead in the role of conniving turn-of-the-century Southern aristocrat Regina Hubbard Giddens. Regina's equally odious brothers (Charles Dingle and Carl Benton Reid) want her to lend them 75,000 dollars to help build a cotton mill. To do this, she must make peace with her long-estranged husband, Horace (Herbert Marshall) -- and failing that, she tries to arrange a wealthy marriage between her daughter, Alexandra (Teresa Wright), and her slimy nephew Leo (Dan Duryea). Horace refuses to give Regina the money, whereupon Leo is pressured by his father (Reid) to steal bonds from the family business. Regina uses this information as a means of blackmailing her brothers for a share in the new mill. In retaliation, Horace claims that he gave Leo the bonds as a loan, thereby cutting Regina out of the deal. When Horace suffers a heart attack, Regina makes no effort to give him his medicine, and he dies without revealing his willingness to loan the money to Leo. Regina is thus still able to strongarm her brothers into giving her a piece of the mill -- but the price for her evil machinations is the loss of her daughter's love and respect. The Little Foxes caused a censorship stir in 1941; by refusing to give Horace his medicine, Regina technically gets away with murder. However, the censors decided that Regina was punished enough when her daughter left her to marry an honest newspaperman (Richard Carlson). Given the usual Tiffany treatment by producer Sam Goldwyn, The Little Foxes was a success; several years later, Lillian Hellman wrote a "prequel" to The Little Foxes, titled Another Part of the Forest. ~ Hal Erickson, All Movie Guide

In this romance, a wealthy young heiress marries an avaricious foreigner to please her father and then dreams of finding herself an all-American boy who falls in love her and not her fortune. Not surprisingly, her marriage falls apart and soon afterward, she falls in love with and marries a fellow who works in the necktie department of her daddy's store. She does not tell her husband that she is going to someday going to someday inherit the store. Meanwhile, her husband gets a series of promotions and is happy until the truth slips out. Enraged, he immediately goes to work for the company's biggest rival. Fortunately for the marriage, that is not the end of the story. ~ Sandra Brennan, All Movie Guide

Those popular MGM co-stars William Powell and Myrna Loy take a break from their usual Thin Man duties to star in the zany comedy I Love You Again. The film opens with Loy prepared to divorce her dull businessman husband Powell. A blow on the head causes Powell to remember his former life as a notorious con man. No one in town has any knowledge of Powell's criminal past, a fact he hopes to use to his advantage. Loy, astounded at Powell's sudden surge of amorous ardor, reconsiders her divorce. When she learns of his true identity, she is even more fascinated. Another blow on the head restores the non-criminal Powell--at least, that's what he and Loy would like you to believe. The film's highlight is a screamingly funny sequence in which Powell plays scoutmaster to a group of surly youngsters (including Our Gang veterans Carl Switzer and Mickey Gubitosi, aka Robert Blake). ~ Hal Erickson, All Movie Guide

Fred Harmon's popular comic strip and radio hero Red Ryder came to the screen in this above-average Republic serial directed by the team of William Witney and John English. Don Barry, until this film mainly playing villains, was cast in the title-role, a rancher organizing the local land owners in opposition to crooked banker Calvin Drake (Harry Woods) and his chief henchman Ace Hanlon (Noah Beery, Sr.). Having learned that the Santa Fe Railroad is planning to build a line through the town of Mesquite, Drake and Hanlon are attempting to buy all the surrounding land by any means possible, including murder. When Colonel Ryder (William Farnum), Red's father, is murdered by Drake's hired killers, Red teams of with his young Native American pal Little Beaver (Tommy Cook) and lovely Beth Andrews (Vivian Coe) aka Vivian Austin), the daughter of another murder victim, Sheriff Andrews (Lloyd Ingraham). With the new sheriff (Carleton Young) in the employ of Drake and Hanlon, it takes the combined efforts of Red, Little Beaver, Cherokee (Hal Taliaferro, formerly Wally Wales) and "The Duchess" (Maude Pierce Allen), Red's indomitable aunt, to bring the villains to justice in the 12th and final chapter, "Frontier Justice." According to co-director Witney, a staged fire went out of control during the filming of this serial, almost burning the soundstage to the ground. Although highly praised by reviewers and audiences alike, Don Barry, whom some observers compared favorably to James Cagney, hated the role and balked at playing it again. Consequently, when Republic inaugurated a regular series in 1944, William Elliot played Ryder. But so popular was Barry's original rendition of the role that he would henceforth be known as Don "Red" Barry. ~ Hans J. Wollstein, All Movie Guide

Bing Crosby plays a tune-happy cab driver who finds himself the reluctant recipient of an abandoned baby. Together with his roommate, dour doorman Mischa Auer, Crosby offers care and shelter to the infant until he can locate the parents. The baby brings in some unwanted publicity for Crosby, which costs him his job--no real problem, in that a happy ending is obviously in the offing. East Side of Heaven was the first of a two-picture deal between Bing Crosby and Universal Pictures, which turned out to be a smart move money wise for both parties. Crosby's leading lady is the vivacious Joan Blondell, who later characterized her costar as "Aloof...I think he was born that way." The infant in the story is played by Baby Sandy (Sandra Henville), who was subsequently launched into a brief "B" series of her own before retiring at the advanced age of four. ~ Hal Erickson, All Movie Guide