George Hackathorne Movies

Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O. Selznick managed to expand this concept, and Margaret Mitchell's best-selling novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks. Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." ~ Hal Erickson, Rovi

This second film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical Show Boat is considered by many film buffs to be the best of the three. Covering nearly four decades (was there ever an Edna Ferber novel that didn't?), the film stars Irene Dunne as Magnolia Hawks, a role she'd previously played on stage, though not in the Broadway version. The daughter of showboat impresario Captain Andy (Charles Winninger, who was in the Broadway original), Magnolia is swept off her feet by dashing gambler Gaylord Ravenal (Allan Jones). Yearning to appear on the showboat stage, Magnolia gets her chance when Captain Andy's leading lady, the tragic Julie (Helen Morgan, likewise a holdover from Broadway), is ordered not to perform by a small-town sheriff because she is Mulatto. Julie's husband Steve (Donald Cook) loyally walks out with his wife, thereby leaving the leading-man position open--but not for long, since Gaylord Ravenal agrees to take over for Steve, the better to stay close to Magnolia. Despite the disapproval of Magnolia's mother Parthy Hawks (Helen Westley), Magnolia and Ravenal are married. Later on, the couple has a baby girl named Kim. At first, the young family is blissfully happy, but as Ravenal's gambling debts begin to mount, things turn sour. Unable to support Magnolia and Kim, Ravenal walks out on them both. Desperately, Magnolia tries to get a job as a singer in Chicago. She auditions at a night spot where, fortuitously, Julie is the featured attraction. Hoping to give Magnolia a break, Julie gets drunk, forcing the manager to hire Magnolia as a replacement. During her New Years' Eve debut, Magnolia "chokes up" in front of the raucous audience--and then, who should emerge from the crowd but lovable Captain Andy, who gives Magnolia the encouragement she needs. Magnolia goes on to become a famous musical comedy star, as does her grown-up daughter Kim (played as an adult by Sunnie O'Dea). On the eve of Magnolia's retirement from the theater, she is reunited with her now-contrite husband Gaylord Ravenal. While the second half of Show Boat departs radically from both the novel (in which Ravenal never returns ) and the Broadway show, the film manages to capture the spirit of its literary and theatrical ancestors. Of the original score, "Cotton Blossom," "Ol' Man River," "Where's the Mate for Me?" "Make Believe," "Can't Help Lovin' Dat Man," You are Love" and "Bill" are retained, while most of the other songs are heard as background accompaniment. Jerome Kern and Oscar Hammerstein II penned three new tunes for the film version: "Ah Still Suits Me," "Gallavantin' Around" and "I Have the Room Above." As in all stage and screen versions of Show Boat, the Charles K. Harris standard "After the Ball" is heard in the New Year sequence. In addition to the aforementioned Dunne, Jones, Winninger, Westley, Morgan, and O'Dea, the Show Boat cast includes the magnificent Paul Robeson as Joe (his rendition of "Ol' Man River" can still induce goosebumps), Hattie McDaniel as Queenie and Sammy White and Queenie Smith as the engagingly second-rate vaudeville team of Frank and Ellie Schultz. Though James Whale of Frankenstein fame seems an odd choice for director, he brings a vibrant theatricality to the proceedings that is lacking in other versions. Show Boat literally saved the financially strapped Universal Pictures from receivership--but not soon enough to prevent the ousters of Carl Laemmle Sr. and Jr. in favor of a new administration. ~ Hal Erickson, Rovi

A man who has ruined a woman's life attempts to make good on his debt to her (and his conscience) in this sudsy drama based on a best-selling novel by Lloyd C. Douglas. Bobby Merrick (Robert Taylor) is an alcoholic ne'er-do-well whose recklessness causes the death of Dr. Hudson, a respected physician. Helen Hudson (Irene Dunne), the doctor's widow, turns away from Merrick's apology, only to walk into traffic. She's struck by a car and blinded. Shaken by the tragic events, Merrick gives up alcohol and begins studying to become a doctor and right the wrong he's done to Helen. As he begins spending time at the family's estate through a mutual friend, Helen grows fond of his frequent visits, and they begin to fall in love. However, when Helen learns that Merrick is responsible for her husband's death and her own accident, she moves away to a place where he cannot find her. In time, Merrick becomes a gifted eye surgeon, and he learns that he could restore Helen's sight with a delicate and dangerous operation that he has never performed before. Magnificent Obsession was a box-office success that spawned a 1954 remake directed by Douglas Sirk and starring Rock Hudson and Jane Wyman. ~ Mark Deming, Rovi

A young woman believes that her mother's gambling house is a hotel. When a gambler angry about being cheated there convinces her to join her mother's business, it really does turn into a hotel. ~ Steve Huey, Rovi

An innocent cowboy is once again suspected of a crime he didn't commit in The Lonesome Trail, an obscure early talkie western from low-budget producer Syndicate that wasted the talents of silent western stars Yakima Canutt, Bob Reeves, Art Mix, and Monte Montague. The accuser (Montague), as it turns out, is the leader of a gang of rustlers, a man the hero once trusted. The star of this fiasco, Charles Delaney, gets to warble a couple of tunes (including Oh, Susannah) but did not set the screen aflame with his vocals or start a new trend. Delaney had enjoyed some success playing collegiate roles in the silent era but was consigned to supporting roles thereafter. ~ Hans J. Wollstein, Rovi

Still in the Hollywood phase of his career, director Alexander Korda made his talking-picture bow with Warner Bros.' The Squall. Myrna Loy stars as Nubi, a sexy and seductive Hungarian gypsy girl who is caught in a torrential downpour. Taking refuge in a farmhouse, Nubi wreaks havoc on the male occupants, all of whom violently vie for her attentions. In other words, the film's title is both literal and symbolic. Loretta Young appears in the secondary role of Irma, sweetheart of emotional young farmer Paul Lajos (Carrol Nye). The Squall was based on a play by Jean Bart. ~ Hal Erickson, Rovi

This late FBO Pictures silent was based on a novel by Beatrice Burton. Having lost her family fortune, socialite Lois Wilson becomes the owner-operator of a fancy restaurant. Even while trying to make ends meet, Wilson struggles to keep her wayward younger brother and sister out of trouble. Unfortunately, brother dear gets mixed up with bootleggers, who hide their illicit booze in the basement of Wilson's establishment. Shut down by the Prohibition agents, Wilson is reduced to working as a hostess in a sleazy gambling joint -- the same establishment where her brother was led astray. ~ Hal Erickson, Rovi

The Cheaters are reformed crooks Helen Ferguson and George Hackathorne. Now gainfully employed in a fancy hotel, Ferguson and Hackathorne are forced to participate in a jewel heist by their former boss. Detective Pat O'Malley suspects that the two thieves are up to their old tricks, but decides to give them enough rope. When it is revealed that they have been strong-armed back into a life of crime, O'Malley looks the other way long enough for them to escape. Oscar Apfel, who with Cecil B. DeMille codirected the pioneering feature film The Spoilers (1914), called the shots in The Cheaters. ~ Hal Erickson, Rovi

Despite its Victrola-inspired title, His Master's Voice was a silent film (though it was released with an accompanying musical score, written by Gus Edwards, Howard Johnson and Irving Bibo, for the benefit of moviehouse pit orchestras). Rin-Tin-Tin wannabe Thunder the Dog stars as an army mutt during World War I. With Thunder's help, human co-star George Hackathorne overcomes his cowardice on the battlefield. Hackathorne then returns home to settle accounts with the crooked rival who stole his gal (Marjorie Daw). The novelty: His Master's Voice is related in flashback by Thunder himself, who is seen at the beginning and end of the film "telling" his story to his pups. ~ Hal Erickson, Rovi

This mediocre Paramount comedy-drama has one interesting feature -- part of it was shot on-location at New York's El Fey Club, run by the famously brash Texas Guinan. John Bentley (Ernest Torrence) left New York bitter after being jilted by his fiancée; even after becoming a successful manufacturer in Iowa, he refuses to go back. Instead, he installs someone else as the East Coast manager. John's son, Ronald (Rod LaRocque), however, is dazzled by dreams of what New York is supposed to be, and he causes his father so much trouble that he decides to let him visit the big city. What Ronald doesn't know is that his dad has transpired with the manager to cause the young man so much trouble there that he will be glad to go back. It turns out that their plans are unnecessary -- Ronald finds enough trouble himself. Peggy Reed (Helen Lee Worthing), the actress that John and his associate have hired, bails on Ronald soon into the game and Ronald makes the acquaintance of Meg (Dorothy Gish). Unfortunately, Meg has a no-good brother who gets Ronald involved in a robbery. He is captured, but remains silent for Meg's sake. The girl, however, exonerates Ronald himself, and he takes her back to Iowa as his wife. John, meanwhile, finds out that his old flame has grown fat and old, so he decides to give New York another try. ~ Janiss Garza, Rovi

The drama opens with a prologue in which an innocent boy (Eddie Phillips) is sent to the electric chair and executed before the governor (Joseph Kilgour) can get through to save him. The actual story involves a contention by George Harrington (Elliott Dexter) that he can have an innocent man convicted for murder. His friend Harry Phillips (Robert Ellis) takes him up on the bet, and they choose Dan O'Connor, a recently reformed crook (George Hackathorne) as the innocent party. O'Connor agrees because the men offer to pay him and he needs the money to help his mother (Mary Carr) and marry his sweetheart, Delia Tate (Clara Bow). So Phillips leaves town and O'Connor is arrested when he tries to pawn some items with Phillips' monogram. He is convicted of murdering Phillips on circumstantial evidence and sentenced to die. In the meantime, Phillips has been killed -- Harrington murdered him in a fight over Mona Caldwell (Margaret Livingston). Mona convinces Harrington to deny any involvement in the bet, and it looks like O'Connor will be executed. Mona's guilty conscience forces her to reveal the truth, thus saving O'Connor's life. ~ Janiss Garza, Rovi

Judging from this action picture, Charles Hutchison might as well have never left serials -- he performs enough stunts here to fill up ten episodes. Family black sheep Bob Sinclair (Hutchison) returns home after buying a ranch in Mexico to discover that his brother, Edwin (Earl Metcalf), is guilty of more wrongdoing than he could ever have dreamed up. Not only has Edwin been robbing his father, he's also encouraged Charles Stafford (George Hackathorne), the brother of Bob's sweetheart, Edith (Edith Thornton), to do the same. While trying to make the robbery look like an outside job, Stafford accidentally knocks down Lionel (David Torrence), Edwin and Bob's father, and nearly kills him. Edwin covers his tracks by pinning the assault on Bob, who is forced to stowaway on a boat headed for Mexico. Also on the ship are Edwin and Edith. Edwin is trying to trick Edith into marrying him, but Bob rescues her and they swim to shore. They expose Edwin's plot, and he is arrested. After being cleared, Bob weds Edith. By 1924, Hutchison was focusing more on his directing and producing career than he was on acting. ~ Janiss Garza, Rovi

The Palmer School of Photoplay Writing decided to try its hand at film production, and this drama was its first release. John Trevor (Lloyd Hughes) is shocked when he discovers that his mother (Myrtle Stedman) has been running a gambling den to put him through college. His sweetheart, Mary Heath (Lucille Ricksen), has a brother, Dave (Bruce Gordon), who is accidentally killed during a brawl at Mrs. Trevor's establishment. To atone for this, John takes Dave's position at the Heath farm. Ignoring the taunts of Bob Heath, Dave's overworked and resentful brother (George Hackathorne), John braves the abuses he receives at the farm. When John and his mother save Dave's twin children (Fay MacKenzie and Frankie Darro) during a blinding snowstorm, both mother and son redeem themselves in the eyes of the Heaths. After that, there is nothing standing in the way of John's romance with Mary. ~ Janiss Garza, Rovi