Denis Green Movies

In this crime drama the trouble begins when a murder occurs aboard a docked ship. Another murder occurs aboard an airplane in flight. An insurance investigator comes to Tangier to look into the theft of 50,000 pounds of sterling from the ship. He is assisted by a cafe entertainer. Together they solve the mysteries and recover the missing silver. ~ Sandra Brennan, All Movie Guide

Daphne du Maurier's novel formed the basis for this romantic adventure saga. Lady Dona St. Columb (Joan Fontaine), an English noblewoman, is unhappily married to the weak-willed Harry St. Columb (Ralph Forbes), while Harry's sinister best friend Lord Rockingham (Basil Rathbone) makes no secret of his desire for her. When she discovers the ship of a French pirate, Jean Benoit Aubrey (Arturo DeCordova), docked near her estate, she makes the acquaintance of the dashing buccaneer, and she soon finds herself infatuated with him. Dona impulsively joins Jean as he stages a raid against wealthy landowner Lord Godolphin (Nigel Bruce); when Dona learns that Harry and Rockingham plan to capture the pirate, she stages a dinner party to distract them and then sends word to Jean that he is in danger. Jean soon appears at the St. Columb estate, putting Harry and Rockingham behind bars and urging Dona to run away with him. She declines, choosing not to follow her heart but to instead stay home to raise her children; however, Rockingham overhears this conversation and uses it to blackmail Dona into having his way with her. Frenchman's Creek earned an Academy Award for Sam V. Comer's set decoration and design. ~ Mark Deming, All Movie Guide

Made just before America's entry into World War II, Paris Calling is one of the earliest French Underground adventures. When the German march into Paris, a polyglot of French patriots organize to undermine the Nazi occupation troops (represented by Lee J. Cobb, who plays his character with a surprising amount of depth). Elizabeth Bergner plays a French aristocrat who learns that her ex-fiance (Basil Rathbone) is a collaborator; she agrees to help the Underground, even unto killing her former lover. Gale Sondergaard, normally a villain, is sympathetically cast as a blowsy waterfront entertainer whose waterfront dive serves as Resistance headquarters. And how do the neutral Americans figure into all of this? Yankee-doodle-dandy Randolph Scott parachutes into view as a pilot for the RAF. ~ Hal Erickson, All Movie Guide

1941's Dr. Jekyll and Mr. Hyde is the second sound version of the Robert Louis Stevenson "doppelganger" tale. This time Spencer Tracy plays the benevolent Dr. Jekyll, whose experiments in releasing the evil impulses within himself transform him into the bestial Mr. Hyde. The problem here is that while Tracy is convincing enough as Hyde, we have trouble accepting him as the kindly Jekyll--exactly the opposite of the 1931 version, in which Fredric March was credible as both Jekyll and Hyde (in fairness to Tracy, it must be noted that he didn't want to play the role and had to be forced into it). MGM decreed that no publicity pictures be released showing Tracy in his Hyde makeup, thereby building up audience anticipation. It's just as well that MGM kept these pictures under wraps: Tracy's Hyde looks less like the Living Personification of Evil than like a man who's been on a three-day bender. The most fascinating aspect of this version of Dr. Jekyll and Mr. Hyde is the casting of the two leading ladies. Ever since the 1920 John Barrymore version of this story, it has been de rigeur to symbolize the schism between Jekyll and Hyde by giving him both a "good" and "evil" girlfriend. Originally, MGM adhered to typecasting by assigning the good girl to Ingrid Bergman and the bad one to Lana Turner. But Bergman begged the studio to be allowed to play the more wicked of the two ladies; as a result, hers is by far the best performance in the picture. Neither as lively as the 1920 version nor as innovative as the 1931 remake, MGM's Dr. Jekyll and Mr. Hyde is weighted down with tiresome dialogue and over-obvious symbolism (catch that dream sequence in which Ingrid Bergman and Lana Turner make like racehorses!) Despite its shortcomings, Dr. Jekyll and Mr. Hyde was infinitely preferable to the next remake, Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953). ~ Hal Erickson, All Movie Guide

Given the omnipresence of the Motion Picture Production Code in 1940, the second film version of Robert E. Sherwood's Waterloo Bridge would have to be laundered and softened to pass muster. In the original, made in 1931, the heroine is nothing more or less than a streetwalker, patrolling London's Waterloo Bridge during World War I in hopes of picking up the occasional soldier. She falls in love with one of her clients, a young officer from an aristocratic family. Gently informed by the young man's mother that any marriage would be absolutely impossible, the streetwalker tearfully agrees, letting her beau down gently before ending her own life by walking directly into the path of an enemy bomb. In the remake, told in flashback as a means of "distancing" the audience from what few unsavory story elements were left, the heroine, Vivien Leigh, starts out as a virginal ballerina. Robert Taylor, a British officer from a wealthy family, falls in love with Vivien and brings her home to his folks. This time around, Taylor's uncle (C. Aubrey Smith), impressed by Vivien's sincerity, reluctantly agrees to the upcoming marriage. When Taylor marches off to war, Vivien abandons an important dance recital to bid her fiance goodbye, losing her job as a result. Later, she is led to believe that Taylor has been killed in battle. Thus impoverished and aggrieved, she is given a motivation for turning to prostitution, a plot element deemed unecessary in the original-which indeed it was. Now the stage is set for her final sacrifice, though the suicidal elements are carefully weeded out. Waterloo Bridge was remade for a second time in 1956 as Gaby, with Leslie Caron and John Kerr. ~ Hal Erickson, All Movie Guide

Kenneth Roberts' fact-based novel Northwest Passage would seem too raw and explicit a book to be considered for an MGM film adaptation-much less one in Technicolor. Amazingly, MGM retained many of the grim episodes from the Roberts' novel, though - thanks to the Hays Code - most are discussed rather than shown. The film is set in 1759, when the headstrong and gifted young artist Langdon Towne (Robert Young) is expelled from Harvard much to the chagrin of his parents and his fiancee, Elizabeth Browne (Ruth Hussey). Towne and his tough-as-nails sidekick, Hunk Marriner (Walter Brennan) get soused one night in a pub and - while intoxicated - viciously insult Elizabeth's father, Rev. Browne (Louis Hector). The two men are nearly arraigned for the incident, but escape just in time and ultimately wind up at the camp of famed Indian hunter Major Robert Rogers (Spencer Tracy). Rogers then invites Towne to join his troupe as a cartographer, and suggests that Marriner tag along. Together, the hundreds of Indian fighters under Rogers's aegis team up and chart their way through the wilderness, headed straight for St. Francis, the base of the French-supported Abenaki tribe, notorious for bloodily wiping out British-controlled colonies, after which they will forge the titular 'northwest passage' to the Pacific. Along the route, the boys counter such obstacles as traitorous Native American guides and exploding gunpowder. Metro Goldwyn-Mayer originally slated this production for Tracy, Wallace Beery, Robert Taylor and Franchot Tone, but only Tracy signed on; the studio reeled in Brennan and Young as last-minute additions, to support Tracy's lead. Northwest Passage marked Vidor's first Technicolor film. William V. Skall and Sidney Wagner received Oscar nominations for their outstanding cinematographic work on the film. Nineteen years after its premiere, Northwest Passage later became an NBC TV series between 1959-60, starring Keith Larsen in the Tracy role, Buddy "Jed Clampett" Ebsen in the Brennan role, and Don Burnett in the Young role. ~ Hal Erickson, All Movie Guide

In this mystery, a newspaper executive and three of his colleagues conspire to have the owner of the highly-respected London Sun committed to an insane asylum. The hapless publisher manages to escape. Soon after, the four collaborators begin dying one-by-one. Oddly their obituaries appear in a rival publication before they are actually killed. ~ Sandra Brennan, All Movie Guide