Frank S. Hagney Movies

Opera star-cum-cowboy hero George Houston stars in PRC's The Lone Rider Fights Back. Appropriately enough, Houston disguises himself as a musician to get the goods on a gang of terrorists. The principal villain hopes to scare the local miners off their land, so he can move in and clean up. Suffice it to say he doesn't succeed. Al St. John, everybody's comedy sidekick, adds a few choice chuckles to the proceedings. ~ Hal Erickson, All Movie Guide

Misbehaving Husbands was intended as a comeback vehicle for silent-film comedy great Harry Langdon, who after his fall from grace in the 1920s had to content himself with cheap 2-reelers, featured roles and screenwriting assignments. Langdon plays henpecked store-owner Henry Butler, who decides to save money by designing his window displays himself. When Henry's wife (Betty Blythe) spots him in an innocent but compromising situation with one of his underdressed models, she walks out on him and files for divorce. Making matters worse, poor Henry is accused of murder when he's seen carrying a store dummy into his house. It's all strictly short-subject material, but Langdon carries off his assignment with finesse, proving that he was still capable of carrying a feature film if given half a chance. Others contributing to the general merriment are statuesque Esther Muir, Langdon's longtime screen partner (and close friend) Vernon Dent, Ralph "Dick Tracy" Byrd and veteran western heavy Richard Cramer (who'd previously appeared in the Langdon-scripted Laurel&Hardy vehicle Saps at Sea). ~ Hal Erickson, All Movie Guide

Even those film buffs who derive pleasure from the output of poverty-row PRC Pictures are hard put to say anything nice about Swamp Woman. Famed striptease artist Ann Corio, a much better actress than many have claimed, stars as Annabelle, a cabaret dancer who returns to the Florida bayous whence she came. Here she finds that her ex-sweetheart Pete (Jack LaRue) is engaged to marry her niece Lizbet (Mary Hull). When escaped convict Jeff (Richard Deane) stumbles onto the scene, Annabelle teams up with Pete to prove Jeff's innocence. Figuring prominently in the proceedings is Annabelle's sleazy agent Brand (Jay Novello) who all but wears a sign on his forehead proclaiming I'M THE VILLAIN! Poorly written, photographer and directed, Swamp Woman is emblematic of all that was wrong with the worst of PRC; the only person to emerge from this fiasco without embarrassment is Ann Corio, who on the strength of her performance herein was signed up for future film appearances. ~ Hal Erickson, All Movie Guide

Wallace Beery trots out his "lovable lout" act for the zillionth time in Man From Dakota. Beery plays a Union army sergeant who, along with his superior officer (John Howard), is captured and incarcerated in a Confederate prison. Upon escaping, Beery and Howard cross the path of Dolores Del Rio, playing a Russian refugee (with a Mexican accent). Dolores helps the escapees in their efforts to reach Northern lines and deliver secret information to General Grant. Based on a novel by MacKinlay Kantor, The Man From Dakota was distorted and truncated so that Wallace Beery would end up with the largest role. ~ Hal Erickson, All Movie Guide

Tugboat Annie Sails Again stars Marjorie Rambeau as the rambunctious female skipper created by Norman Reilly Raine. In this one, Tugboat Annie is threatened with the loss of her job as cap'n of the tacky tugboat Narcissus, much to the delight of Bullwinkle (Alan Hale), skipper of the rival Salamander. In order to raise $25000 in a hurry, Annie agrees to tow a drydock to Alaska, but this plan is scuttled when another, sleeker tug lands the contract. Annie saves the day-and her job-when the other tug gets into trouble on the high seas. The romantic subplot is handled by Jane Wyman and Ronald Reagan, both of whom are as cute as can be. Incidentally, outtake footage exists of Tugboat Annie Sails Again wherein pert Ms. Wyman cusses like a sailor while splashing around in a studio tank. ~ 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

Banking on the popularity of the Warner Bros.' boxing saga Kid Galahad (37), the studio rushed into production with another, similarly titled prizefight picture. In Kid from Kokomo, Wayne Morris once more plays a small-town rube who's good with his fists. The "kid" becomes convinced that a drunken harridan (May Robson) is his mother, and invites her to move in with him. Since the old lady is a kleptomaniac, it doesn't take long for the law to breathe down Morris' neck. Pat O'Brien hangs around as Morris' manager, while Joan Blondell and Jane Wyman supply the feminine interest. ~ Hal Erickson, All Movie Guide

Harold Lloyd plays a professor of Egyptology, frightened by the notion that he has fallen under an ancient Egyptian curse. Lloyd has the opportunity to join an archeological expedition to search for a missing tablet that will determine his fate, but he has to travel from Los Angeles to New York before the party sails to Egypt. Alas, Lloyd is also required to appear in court to answer charges of "indecent exposure" (it's a long story). The rest of the film is a frantic chase with the authorities pursuing the fugitive professor across the country, highlighted by a daredevil sequence atop a moving train. Most of the individual gags are funny, but Professor Beware is several notches below the standard set by Harold Lloyd's silent films. The lukewarm boxoffice response to this film would convince Lloyd that he should retire from performing--which he did, returning to the screen only for 1947's Sins of Harold Diddlebock. ~ Hal Erickson, All Movie Guide

With Wild Horse Round-Up, cowboy star Kermit Maynard put his "Canadian Mountie" film series behind him to concentrate on orthodox western action. Maynard plays Jack Benson, who gallops to the aid of heroine Ruth Williams (Betty Lloyd). She cold-shoulders him, assuming that he's but one of the many villains who's been trying to force her off her property. But Jack proves his noble intent by rounding up the bad guys just in time for the railroad to make a generous offer for Ruth's spread. Wild Horse Round-Up affords Kermit Maynard ample opportunity for the spectacular riding stunts which made him famous. ~ Hal Erickson, All Movie Guide

In this crime thriller, an old, ailing scientist has been robbed of the burglar alarm he invented by his partner, who owns a security company. The scientist invents a superior alarm to provide for his daughter and sells it to the company for royalties, but his partner refuses to sell it. The scientist then invents a device that nullifies his partner's alarms and breaks into stores to prove that it works. He is kidnapped by a gang, who force him to give them the device by kidnapping his daughter. They go on a crime spree, and the scientist escapes and convinces his partner to help him catch the crooks. They rescue his daughter, and the partner pays him in full for all his inventions. ~ Steve Huey, All Movie Guide

Another entry from John Wayne's non-western series at Universal, Conflict casts Wayne as Pat, a bare-knuckle boxer in turn-of-the-century New York. Not the most honest of pugilists, Pat reforms for the sake of an orphaned kid named Tommy (Tommy Bupp), whom he has saved from drowning. He sets out to redeem himself by finding legitimate work in a lumber camp, but his past catches up with him. Jean Rogers, Buster Crabbe's vis-a-vis in Flash Gordon, is the heroine, while the nominal villain is Ward Bond, making the first of several co-starring appearances with John Wayne. Conflict is based on Jack London's The Abysmal Brute, previously filmed under that title with Reginald Denny in 1923. ~ Hal Erickson, All Movie Guide

This episodic satire of the Machine Age is considered Charles Chaplin's last "silent" film, although Chaplin uses sound, vocal, and musical effects throughout. Chaplin stars as an assembly-line worker driven insane by the monotony of his job. After a long spell in an asylum, he searches for work, only to be mistakenly arrested as a Red agitator. Released after foiling a prison break, Chaplin makes the acquaintance of orphaned gamine (Paulette Goddard) and becomes her friend and protector. He takes on several new jobs for her benefit, but every job ends with a quick dismissal and yet another jail term. During one of his incarcerations, she is hired to dance at a nightclub and arranges for him to be hired there as a singing waiter. He proves an enormous success, but they are both forced to flee their jobs when the orphanage officials show up to claim the girl. Dispirited, she moans, "What's the use of trying?" But the ever-resourceful Chaplin tells her to never say die, and our last image is of Chaplin and The Gamine strolling down a California highway towards new adventures. The plotline of Modern Times is as loosely constructed as any of Chaplin's pre-1915 short subjects, permitting ample space for several of the comedian's most memorable routines: the "automated feeding machine," a nocturnal roller-skating episode, and Chaplin's double-talk song rendition in the nightclub sequence. In addition to producing, directing, writing, and starring in Modern Times, Chaplin also composed its theme song, Smile, which would later be adopted as Jerry Lewis' signature tune. ~ Hal Erickson, All Movie Guide