Gavin Gordon Movies

Of the two 1934 film versions of the life of Russia's Catherine the Great, Josef von Sternberg's The Scarlet Empress was the most opulent and exotic. Marlene Dietrich plays the German-born Catherine, who is required to marry Russia's mad Grand Duke Peter (Sam Jaffe, decked out in a Harpo Marx wig). As if her joke of a marriage isn't torment enough, Catherine must endure the excesses of her new mother-in-law, Empress Elizabeth (Louise Dresser). Eventually, Catherine finds solace -- and romance -- in the form of Count Alexei (John Lodge). But even this balm is denied her when the ambitious Alexei begins wooing the much-older Elizabeth. When the old Empress dies, Catherine ascends to the Russian throne, knowing full well that her addled husband would kill her at the slightest provocation. Soon her power outstrips Peter's, and the opportunistic Alexei now comes back into her life. The finale finds Catherine emerging triumphant over all her enemies -- and, in the film's least subtle sequence (which is saying a lot!), the new Empress is shown astride a horse, to whom she displays far more affection than any of her human compatriots. The Scarlet Empress has even less to do with accuracy than Paul Czinner's Catherine the Great of the same year, which starred Elizabeth Bergner. Watch for Dietrich's real-life daughter Maria Sieber (aka Maria Riva) as the 7-year-old Catherine in the early scenes. ~ Hal Erickson, Rovi

Before it became one of Hollywood's busiest B-picture mills, Monogram Pictures had a fondness for literary adaptations (The Moonstone, Jane Eyre etc.) Monogram's 1933 Black Beauty was, of course, based on the classic novel by Anna Sewell. Only a few of the many anecdotal adventures of the titular black horse are dramatized herein. Black Beauty is raised by a loving family, is abused by unloving owners, then returns to the loving family again. Silent movie star Esther Ralston is top-billed, but the true acting honors go to Black Beauty herself. The story would be remade by 20th Century-Fox in 1946, and for television several times over. ~ Hal Erickson, Rovi

The Mystery of the Wax Museum begins in London in the 1920s. Lionel Atwill plays Ivan Igor, a brilliant sculptor who manages a wax museum. Regarding his historical creations as his friends, Igor refuses the entreaties of his business partner, Joe Worth (Edwin Maxwell), to turn his labor-of-love museum into a more profitable "house of horror." Worth responds by setting fire to the museum, hoping to collect the insurance; as Igor looks on in horror, his effigies of Marie Antoinette, Queen Victoria, et al. grotesquely melt to the floor. Flash-forward to 1933: New York City is plagued by several disappearances -- not only of live people, but of recently deceased corpses from the morgue. Hard-boiled girl reporter Florence Dempsey (Glenda Farrell) browbeats her long-suffering editor Jim(Frank McHugh) into investigating these disappearances. Florence rooms with Charlotte Duncan (Fay Wray), the girlfriend of Ralph Burton (Allen Vincent), who works as a technician at a new midtown wax museum. This about-to-open attraction is run by Igor, who had survived the London fire but is now confined to a wheelchair. Igor's old enemy Worth is also in New York, his fingers in several crooked pies. It appears to Florence (and the audience) that somehow Worth is involved in the recent rash of disappearances; the guilty party could also be playboy George Winton (Gavin Gordon), Florence's boyfriend, who is deeply in debt to Worth. But once Igor decides that Charlotte is the living image of Marie Antoinette, the audience becomes uncomfortably suspicious that all those incredibly life-like statues in his museum are actually the paraffin-coated bodies of the missing people. Igor tips his hand when a terrified Charlotte, promised "eternal life" by being "transformed" into an Antoinette effigy, begins punching and clawing at his face -- revealing his countenance to be a mask, covering his hideously burned and gnarled features. Thus, the stage is set for the climactic race to prevent the strapped-down Charlotte from being permanently encased in wax. Long thought lost, The Mystery of the Wax Museum was rediscovered in Jack Warner's personal film collection in 1970. Its two-color Technicolor had faded to the point of monochrome, but fortunately its original hues were preserved by dedicated AFI technicians. The film was remade (and considerably simplified) as the 1953 3-D extravaganza House of Wax, with Vincent Price in the Atwill role. ~ Hal Erickson, Rovi

Hard to Handle stars James Cagney as a fast-talking promoter who pounces upon every current fad and foible to make a quick buck. He promotes marathon dances (where spectators feel cheated because no one drops dead), crash diets, reducing creams and treasure contests, finagling his way into the confidence of high rollers and money men. In a cute "inside" joke harking back to a choice Cagney moment in The Public Enemy, our hero at one point takes up the promotion of grapefruits! Like most conners, Cagney isn't aware when he is being conned himself, and he falls victim to his marathon-dance business partner, who absconds with the winnings. The contest winner is pretty Mary Brian, whose mother (Ruth Donnelly) tries to extract payment by forcing Cagney to marry her daughter. He does, but only after eight reels of high-pressure wheeling and dealing. In the tradition of Jimmy Cagney's other early-1930s, Hard to Handle is socked over by the energetic insouciance of its star. ~ Hal Erickson, Rovi

In this detective drama, a gumshoe falls in love with a torch singer who is unfortunately, involved with a crook. The two lovers then take off to Bermuda, but not before the crook double-crosses his own gang. The detective is then persuaded into following the two and bringing the traitor back to his gang. He does so, but just as the gang is about to double-cross and kill him, motorcycle cops intervenes. Justice prevails, and romance ensues as the remaining two begin to finally fall in love. ~ Sandra Brennan, Rovi

Constance Bennett suffers nobly in this outdated but fairly engrossing melodrama in which a seemingly hardened debutante takes the blame for the mistakes of her siblings. When her sister Corinne (Helen Vinson) gets in trouble with a married man (Gavin Gordon), Ardell Hamilton (Bennett) accepts culpability in her stead. She performs the same service for ne'er-do-well brother Bob (Allen Vincent) when he is accused of murdering the philanderer, and who should be the prosecuting attorney in the case but honest, hardworking David Norton (Neil Hamilton), with whom Ardell has fallen in love. ~ Hans J. Wollstein, Rovi

Actor Robert Montgomery would serve as a lieutenant in the U.S. Naval Reserve during WWII, but he was just a lowly seaman in the 1931 MGM programmer Shipmates. When he's not being pushed around by chief petty officer Ernest Torrence, naval recruit Jonesy (Montgomery) is busily wooing Kit (Dorothy Jordan) the daughter of Admiral Corbin (Hobart Bosworth). After several reels of irresponsibility, Jonesy proves his worth by preventing an arsenal ship from being destroyed by a burning oil tanker. Cliff Edwards provides the requisite comic relief as a goofy gob named Bilge. Though Shipmates could hardly qualify as Robert Montgomery's best film, it was the picture in which he was finally afforded top billing, thereby increasing his salary to a daunting $2100 per week. ~ Hal Erickson, Rovi

Greta Garbo appears here (in her second talking film) as an Italian singer who seduces a young priest into falling for her. She admits that she had been the kept woman of an older man, and when she returns to her former lover (to tell of her new love), her visit is misinterpreted by the priest as a liaison, prompting the priest to cast her affections aside. The film is told in narrative fashion, through the eyes of the priest when looking back to an early portion of his life. Garbo and director Clarence Brown earned Oscar nominations for their respective roles in the making of the film. ~ Rovi

The unique directorial touches of Gregory LaCava lift this standard military comedy well above the norm. William Boyd plays Terry Culver, a wise-guy officer who receives his first commission. Amazingly, Culver's commanding officer Colonel Gaylord (Alphonse Ethier) takes a liking to the brash, obnoxious young officer -- as does Gaylord's pretty daughter Judy (Dorothy Sebastian, at the time the wife of co-star Boyd). Despite his blundering and bluster, Culver proves his worth by rescuing a small child from jeopardy, and as a reward wins Judy's hand in marriage. A brief Technicolor sequence and an exciting steeplechase finale add to the film's overall conviviality. ~ Hal Erickson, Rovi