Ethel Griffies Movies

Charles Dickens' unfinished novel, The Mystery of Edwin Drood, has been a source of speculation and controversy ever since its posthumous publication. Even so, the ending concocted by scenarists John Balderston and Gladys Unger for the 1935 film version of Edwin Drood met with near-unanimous approval from Dickens buffs, who felt that Balderston and Unger had remained faithful to the author's original intention. Claude Rains stars as John Jasper, the seemingly respectable choirmaster of Cloisterham Cathedral. What no one suspects is that Jasper is an opium addict, given to fits of paranoia and jealousy. Pushing him over the edge is the fact that his beautiful ward, Rosa Bud (Heather Angel), has fallen in love with handsome Edwin Drood (David Manners). That Drood is murdered by Jasper is made abundantly clear: it is the mystery of how he was murdered and how Jasper disposed of the body that holds the viewer's interest. The film's relatively short running time required the screenwriters to drop several of Dickens' more colorful supporting characters: of those retained, Francis L. Sullivan is a standout as Mr. Crisparkle. The Mystery of Edwin Drood was transformed into a Broadway musical in 1980s (which offered several alternate endings), then was refilmed in 1993. ~ Hal Erickson, All Movie Guide

Originally intended as a vehicle for Boris Karloff and Bela Lugosi, this Universal production predated The Wolf Man by six years, but failed to whip up audience enthusiasm for the monster popularized by Lon Chaney, Jr. in the studio's later classic. Henry Hull stars as botanist Dr. Glendon, whose foray through Tibet in search of a rare night-blooming "marifasa lupina" ends when he is savagely attacked by man-beast Yogami (Warner Oland). Recovering back in London, Glendon begins to undergo the hideous transformation into a wolf-like monster at the next full moon (courtesy of makeup work by Jack Pierce), and learns that only the bloom of the marifasa can reverse his condition -- a cure which is currently being sought by yet another lycanthropic predator. ~ Cavett Binion, All Movie Guide

MGM's Sadie McKee is a superb example of how the "committee" system of moviemaking in the 1930s could sometimes yield unexpected delights. It all begins when Sadie McKee (Joan Crawford) is brought to big bad old New York by glib vaudevillian Tommy (Gene Raymond), only to be unceremoniously dumped in favor of actress Dolly (Esther Ralston). Cast adrift, our Sadie lands a nightclub job, where she meets genially intoxicated millionaire Brennan (Edward Arnold). Accepting his drunken marriage proposal, Sadie must endure the slings and arrows of Brennan's friends and family, who consider her a gold-digger. Meanwhile, Sadie's former boss Michael (Franchot Tone), the one true love of her life, waits and waits and waits to see what's really on the girl's mind! And as a bonus, this is the film that introduced the peppy ditty "All I Do Is Dream of You". The labyrinth plotline of Sadie McKee is proof enough that more than one screenwriter had a hand in its creation: but instead of chaos, the film is irresistibly watchable, full of unexpected plot twists and marvelous little surprises. ~ Hal Erickson, All Movie Guide

This second and final "Bulldog Drummond" film to star Ronald Colman, finds the famed sleuth in the midst of a sinister plan orchestrated by Warner Oland. Damsel in distress Loretta Young reports that her wealthy and influential uncle is missing, but all those concerned insist that the uncle never existed, and that Young is out of her mind. Drummond suspects that she's telling the truth, and that the uncle's disappearance is tied into political intrigue of some sort or other. Before the rousing climax, Drummond, the heroine, and Drummond's pal Algy (Charles Butterworth) are repeatedly kidnapped, imprisoned, and threatened with certain death. Counterpointing the film's plot twists (a bit too convoluted to relate in full here) is a comic subplot involving the continually interrupted honeymoon of Algy and his frustrated bride (Una Merkel). Unfortunately, Bulldog Drummond Strikes Back is currently unavailable on television or on videocassette. ~ Hal Erickson, All Movie Guide

A W. Somerset Maugham novel was the source for the fair-to-middling Greta Garbo vehicle The Painted Veil. In a situation comparable to the plotlines of most of her silent films, Garbo is lovelessly married to Herbert Marshall, but carries a flaming torch for George Brent. (Also harking back to Garbo's silent days is the fact that neither one of the men in her life is particularly interesting!) Marshall, a brilliant physician, is compelled to go into the interior regions of China to quell a cholera epidemic. He knows that Garbo has been having an affair with politician Brent, and chivalrously gives her the choice of remaining with Brent or accompanying him. Fearing a scandal, Brent bids farewell to Garbo. Once they're in the midst of the epidemic, Garbo tirelessly works by her husband's side; eventually she falls in love with him for the first time. Seriously injured in a peasant uprising, Marshall hovers near death. Brent reappears, offering to take Garbo back with him. She refuses, electing to stay with her husband no matter what the future brings. Among the supporting players in The Painted Veil are Warner Oland and Keye Luke, one year away from their memorable pairing in Fox's Charlie Chan films. ~ Hal Erickson, All Movie Guide

A couple of down-and-out British aristocrats buy an American roadhouse in this uproarious farce from Paramount. Naming the establishment after their estate in the old country, Twicket-on-Topping, Lady Beulah (Alison Skipworth) and her brother Sir Reginald (Roland Young) run afoul of American gangsters and when an attempt to sell the place to unsuspecting capitalist Mr. Stephens (DeWitt Jennings) comes to naught, Lady Beulah turns the roadhouse into an upscale café, the Boots and Saddles. The stout Englishwoman, however, staunchly refuses to provide liquor from bootlegger Nutty Bolton (Warren Hymer) and the latter attempts to ruin the establishment's recent goodwill by spiking the drinks. In the end, Lady Beulah is rescued by her niece Cecily (Sari Maritza), whose American boyfriend finally cons Stephens into buying the place right before it is raided by the police. ~ Hans J. Wollstein, All Movie Guide

In this campy "adult-oriented" drama from the early 1930s, the ruthless manager of a Malaysian rubber plantation marries a singer facing deportation. He offers her a miserable existence of abuse and loneliness. She finds a bright spot with a handsome plantation worker. Unfortunately, her jealous husband sends him into headhunter country. When the man returns unscathed, the bullying supervisor is surprised for he figured the worker for a coward. The natives then revolt and an escaped convict helps the lovers make it to safety. The manager and the fugitive then play poker. The owner has a terrific hand, but never gets to lay it down, because his opponent is gored by a spear and dies. The ruthless overseer soon joins him. ~ Sandra Brennan, All Movie Guide

This star-laden version of Lewis Carroll's novel combines elements of both the title novel and Carroll's sequel, Through the Looking Glass. In England of the 19th century, young Alice finds that the mirror over the library fireplace opens into a strange world. She has odd adventures and changes size several times both before and after she follows a time-obsessed White Rabbit (Skeets Gallagher). Soaked after nearly drowning in a pool of tears, Alice is helped to dry off by a Dodo (Polly Moran), and encounters a caterpillar (Ned Sparks), whose mushroom also changes Alice's size. In a noisy home where the Cook (Lillian Harmer) and the Duchess (Alison Skipworth) are always fighting, Alice takes care of the Duchess' baby, but it turns into a pig and runs away. Asking directions of the Cheshire Cat (Richard Arlen) is no help, and a tea party with the Mad Hatter (Edward Everett Horton), the March Hare (Charlie Ruggles) and the Dormouse (Jackie Searl) is confusing and annoying.

Alice meets the Queen of Hearts (May Robson), and encounters the Duchess again; while strolling with her, Alice meets the Gryphon (William Austin) and the Mock Turtle (Cary Grant). The twins Tweedledum (Jack Oakie) and Tweedledee (Roscoe Karns) recite a poem about a Walrus and a Carpenter (seen as an animated cartoon), but when they decide to go to battle, they're chased off by a crow. Humpty Dumpty (W.C. Fields) relates the poem "Jabberwocky" to Alice, then falls off a wall and breaks. The mournful White Knight (Gary Cooper), unable to put Humpty Dumpty together again, escorts Alice for a while, but she tumbles down a hill and finds she's become a queen. At a party in Alice's honor, the Red Queen (Edna Mae Oliver) becomes furious at Alice, who then wakes up to find herself in the library, with her kitten Dinah in her lap. ~ Bill Warren, All Movie Guide

In this comedy, two rubes from Montana find a fortune after they discover radium on their ranch. The nouveau riche ranchers then take a trip to England to see one of their girlfriends whose father sent her to stay with her blue-blooded relatives to keep her away from the red-necked country boy. As soon as the boys get to London, they really start paintin' the town red and getting into all sorts of trouble until they manage to reveal the true identity of a phony nobleman, a fugitive from justice. ~ Sandra Brennan, All Movie Guide

One of the most technically accomplished and sophisticated movie musicals of the 1930's, Rouben Mamoulian's Love Me Tonight (1932) had a profound effect on the shape of the musical genre (especially the films of Vincente Minnelli), and remains a candidate for best movie musical ever made, some seven decades after its release. And that distinction is based entirely on its style and structure -- it doesn't even take into account a hit-laden score by Richard Rodgers and Lorenz Hart, or a raft of delightful performances, several of them totally unexpected in their range and wit. The movie opens with an amazing double audio/visual montage sequence, in which the sleeping city of Paris awakens to a slowly rising chorus of sounds, street by street, house by house -- forming what the script describes as a "symphony" of sound -- which coalesces into a song. It is through the latter that we meet Maurice Courtelin (Maurice Chevalier), a young Parisian tailor who has just completed his first big job, an order of 15 suits for the Viscount de Varese (Charlie Ruggles), who has promised to pay him on delivery. He then discovers that the Viscount is little more than an upper-class ne'er-do-well who, among his other faults, has no money of his own -- being completely dependent on his crusty old uncle the Duke (Sir C. Aubrey Smith) -- and never pays his bills. In one of a half-dozen remarkable musical scenes, as Maurice's friend Emile (Bert Roach) ponders the matter of love in the new suit he has made for him, Maurice begins singing "Isn't It Romantic?", causing Emile to hum the tune as he strolls onto the street; the song is picked up by a taxi driver (Rolfe Sedan), and passed to his passenger (Tyler Brooke), a composer, who carries it aboard a train, humming it, where a group of soldiers hear it and end up singing it as they march across a field, where a young gypsy hears it and carries it to his camp on his violin, where the whole clan is soon singing. And the song is finally wafted across the surrounding fields to the estate of the Duke and the Viscount de Varese, where it is heard and sung by the Duke' niece, Princess Jeanette (Jeanette MacDonald). The two characters, Maurice and Jeanette, are linked for us in this way even before they meet, and the stage is set for the rest of the plot. For the Princess, living under her family's tradition-bound hand, romance is a source of unhappiness; there's no one at the chateau to interest her, and even if there were, she couldn't dare to be interested; already a widow from an arranged marriage at age 22 (her first husband was 75), she must marry someone of equal royal rank, and the only two known candidates in all of Europe are ages 85 and 12, respectively. Maurice journeys to the chateau with the clothes the Viscount ordered, hoping to confront him for payment, and is mistaken for one of the guests -- and he crosses paths with the Princess, and falls in love with her. Identified as the Count de Courtelin, he delights the rest of the guests with his joie de vivre and his way with a song, especially "Mimi" (which somehow managed to make it past the censors, despite some amazingly risque lyrics), getting the entire coterie of nobles singing it in his wake. But the Princess is resistant to his free and easy charm and flirtations, her staid upbringing and sense of station fighting her natural inclinations, while her other would-be suitor, the Count de Savignac (Charles Butterworth), is suspicious of this new-found rival. Also present at the estate is the Duke's other niece, Countess Valentine (Myrna Loy), who has a nymphomaniac interest in men under the age of 40, of whom Maurice is the only one at the chateau not related to her -- thus, he must fend off her advances while trying to woo a woman who wants nothing to do with him. Rumor soon spreads that Maurice is, in fact, a full-blooded royal prince traveling in disguise. And if he is a prince of the rank they think he is, then suddenly the Princess's marital and romantic prospects seem a lot more encouraging, especially as she begins to melt to his charm. Maurice wants to tell her the truth, but will she feel the same way about him, knowing that he is a commoner, a tradesman ... a tailor? Director Rouben Mamoulian had already jump-started the musical genre with the backstage drama Applause (1929), to great critical and financial success. In contrast to that movie's deceptively naturalistic approach to its subject, Love Me Tonight was highly stylized -- Applause had no actual musical numbers in complete form, while Love Me Tonight was filled with incredibly elaborate and subtle musical set-pieces that grow naturally out of the plot (adapted from a play by Paul Armont and Leopold Marchand) and advanced the narrative. Some of the scenes here helped set the stage for works such as An American In Paris and Gigi (one scene near the end, when Maurice's identity is revealed, seems to have been the model for "The Gossips At Maxim's" from the latter film) and Funny Face. Such is Love Me Tonight's reputation, that in the summer of 2007, 75 years after its release and more than five years after it showed up on DVD, the movie chalked up sell-out audiences when it opened the Mamoulian retrospective at New York's Film Forum. ~ Bruce Eder, All Movie Guide

A starry-eyed girl marries an impoverished but talented young writer. Though easily frustrated and given to temperamental outbursts, the wife's presence soothes him and their marriage is happy. Then she gives birth to their daughter. The child grows up to be a mischief maker and this causes the break up of the marriage. Following the divorce, the woman marries a wealthy man. Many years pass before the former lovers meet again. With both in more stable circumstances, it doesn't take long for their old love to reemerge. ~ Sandra Brennan, All Movie Guide

In this drama, a Russian woman marries a British aristocrat, bears him a daughter, and is forced to abandon them by his snooty family when he decides to run for Parliament because constituents would disapprove of her eccentric Russian ways. The poor wife moves to Paris and many years pass. The daughter travels to Paris, and there unknowingly meets her mother who gives her some sage advice when the young woman falls in love with a man her father disapproves of. ~ Sandra Brennan, All Movie Guide

"There is never a suggestion of subtlety in this tale" was the New York Times' acidic but accurate assessment of the Technicolor comedy Manhattan Parade. Winnie Lightner plays Doris, the wife and business partner of Herbert (Charles Butterworth), owner of a theatrical costume store. When Herbert scampers off to parts unknown in the company of flashy blonde Charlotte (Greta Granstedt), Doris takes over the management of their store. She has a pretty rough time of it until European impresario Vassiloff (Luis Alberni) rents every costume in the store for a lavish stage spectacular. Alas, the show folds after one night, but Herbert saves the day by returning in the nick of time with a big moneymaking scheme. Child actor Dickie Moore has a cute bit in which he lulls Winnie Lightner to sleep with a bedtime story, a gag later expanded upon by Laurel & Hardy in Pack Up Your Troubles. Otherwise, Manhattan Parade is pretty slow going, save for the Jewish-dialect patter of comedians Smith & Dale (the real-life counterparts for Neil Simon's The Sunshine Boys). ~ Hal Erickson, All Movie Guide