Jonathan Hale Movies

This is the second movie version of Willa Cather's Pulitzer Prize winning novel that tells the story of a bride-to-be whose fiance is near-fatally injured by the jealous husband of a woman he had an affair with. The poor young woman is so upset by the situation that she swears she will never love another and takes off to live in an isolated mountain retreat. There she feels terribly sorry for herself. One day she is moping along a rough trail, falls and hurts herself. Fortunately, she is rescued by an elderly lawyer who helps her heal both physically and psychologically. The grateful girl ends up marrying him. Unfortunately she meets a handsome young man with whom she falls passionately, but chastely in love. Now she regrets marrying the old attorney. She decides to tell the lawyer her true feelings. When she is finished he promptly keels over with a heart attack. It might be noted that after Cather saw this film, she forbade the further sale of her works to Hollywood. ~ Sandra Brennan, All Movie Guide

In G Men, Warner Bros. "bad boy" James Cagney plays James "Brick" Davis, a young lawyer whose education has been financed by soft-hearted racketeer McKay (William Harrigan). When Cagney's best pal, detective Eddie Buchanan (Regis Toomey), is killed in a gangland shooting, James decides to become a G-Man. Though scrupulously honest, Davis is looked upon with suspicion by his fellow agents because of his association with the crooked McKay. He proves he's a "good guy" when his former girlfriend, Jean Ann Dvorak, now the wife of mobster Brad Collins (Barton MacLane), tips him off to a "Little Bohemia"-style gangster hideaway. Jean later sacrifices her own life to help James rescue his new girl, nurse Kay McCord (Margaret Lindsay), from the vengeful Collins. Based on Gregory Miller's book Public Enemy No. 1, G-Men was reissued in 1949, with an added prologue featuring David Brian as an FBI trainer who advises his students not to laugh at the old-fashioned costumes and slang in the 1935 film; seen today, it is Brian's superfluous opening comments that seem hopelessly dated, while the film itself is as exciting and entertaining as ever. ~ Hal Erickson, All Movie Guide

Although some purists hold out for Duck Soup (1933), many Marx Brothers fans consider A Night at the Opera the team's best film. Immediately after the credits roll, we are introduced to Groucho Marx as penny-ante promoter Otis B. Driftwood. After a sumptuous dinner with a beautiful blonde at a fancy Milan restaurant, Driftwood tries to cadge another free meal from his wealthy patroness, Mrs. Claypool (Margaret Dumont). The dignified dowager complains that Driftwood had promised to get her into high society, but has done nothing so far. Otis B. counters by introducing Mrs. C to pompous opera entrepreneur Gottleib (Sig Rumann); all Mrs. Claypool has to do is invest several hundred thousand dollars in Gottleib's opera company, and her entree into society is in the bag. Contingent upon this plan is Driftwood's signing of Rodolfo Lassparri (Walter Woolf King), a self-important tenor. Backstage at the opera, Driftwood meets Fiorello (Chico Marx), who poses as a manager and offers to sell Driftwood the "world's greatest tenor"-not Lassparri, as Driftwood assumes, but Fiorello's pal Ricardo Baroni (Allan Jones). Instantly the two sharpsters try to draw up a contract ("The party of the first part shall hereafter be known as the party of the first part..."), which they proceed to tear up piece by piece whenever coming across a clause that displeases them (Driftwood: "That's a sanity clause"; Fiorello: "You no foola me. There ain't no Sanity Claus"). Having lost Lassparri to Gottleib, Driftwood sails back to America with Mrs. Claypool and the opera company. Gottleib arranges for Driftwood to get the tiniest, least accessible stateroom on the ship. Unpacking his trunk, Driftwood discovers that he's got to share his postage-stamp quarters with Ricardo Baroni, who has stowed away because he's in love with the opera troupe's leading lady Rosa (Kitty Carlisle). Also hiding out in Driftwood's trunk is Fiorello, who's come along because he's still Ricardo's manager, and the wacky Tomasso (Harpo Marx), Lassparri's former dresser, who has come along for the hell of it. Anxious to arrange a tete-a-tete with Mrs. Claypool in his stateroom, Otis finds out that his unwelcome guests won't leave until they're fed ("Do you have any stewed prunes? Well, give them some black coffee, that'll sober 'em up"). After ordering a huge dinner, Otis and his new friends are crowded even farther by a steady stream of intruders, including an engineer and his assistant, a cleaning lady, a manicurist, a girl looking for her Aunt Minnie, and a dozen waiters. The celebrated "stateroom scene" comes to a rollicking conclusion when Mrs. Claypool has the misfortune of opening the door. On the last night of the voyage, Fiorello, Tomasso and Ricardo sneak out of their stateroom to enjoy an impromptu ethnic festival in steerage. Ricardo sings, Fiorello "shoots the keys" on the piano, and Tomasso plays the film's theme song Alone on the harp. The stowaways are caught and thrown in the brig, but with Driftwood's help they escape. To avoid recapture, the stowaways don heavy beards and pose as three famed Russian aviators. After making a shambles of a public reception, the three reprobates hide out in Driftwood's New York apartment, where everyone conspires to drive an investigating detective (Robert Emmet O'Connor) crazy. Driftwood is fired from the opera company for associating with the stowaways, while Rosa is dismissed for refusing Lassparri's affections. In order to restore Rosa's job and put the deserving Ricardo in Lassparri's place during the opening performance of La Traviata, Driftwood, Fiorello and Tomasso concoct a scheme that will reduce the opera to comic chaos. The actual night at the opera in A Night at the Opera must be seen to be believed, but the spirit of the scene can be summed up by Gottleib's anguished cry "A battleship in Il Trovatore!" Opera was the Marx Brothers' first film for MGM, and they dearly coveted a hit after the disappointing box-office showing of their final Paramount films. With the blessing of MGM production chief Irving Thalberg, the Marxes went on the road with their brilliant writing staff (including George S. Kaufman, Morrie Ryskind and Al Boasberg) to test their comedy material before live audiences. As a result of this careful preplanning, Night at the Opera was a smash-hit gigglefest, grossing over $3 million and putting the Marxes back on top in the hearts and minds of filmgoers everywhere. ~ Hal Erickson, All Movie Guide

A serial-like pace and some stylish directorial choices by Gordon Wiles distinguish this "Charlie Chan" entry. The reading of a will is delayed until one of the principal heirs to the fortune, can be located. He shows up at the family mansion, only to be promptly murdered. It is now up to detective Charlie Chan (Warner Oland), an old friend of the family, to protect dowager Henrietta Lowell (Henrietta Crossman), from harm. Alas, Chan apparently fails, and Henrietta falls victim to the mysterious killer -- or does she? The suspect roster includes a pair of phony mystics, an ill-tempered caretaker and a stock swindler -- but it's the least-likely suspect who proves to be the guilty party, one of several of the many surprises packed into the final reel. The appealing heroine in Charlie Chan's Secret is played by Rosina Lawrence, who later gained lasting fame as the schoolteacher in Hal Roach's Our Gang one-reelers. ~ Hal Erickson, All Movie Guide

It's a dark and stormy night. The butler of a large mansion is annoyed by the howling of a cat. He fires a few gunshots at the annoying feline, which rouses the attention of two dimwitted cops. Before long, nearly everyone in New York has converged on the mansion--including a couple of bona fide criminals. Lightning Strikes Twice can't make up its mind to be a straight melodrama or a slapstick comedy, and therein lies both its weakness and its charm. The film is of greatest interest to fans of 1930s "B" pictures, thanks to a vintage cast including Chick Chandler, Thelma Todd, Steffi Duna and Walter Catlett. ~ Hal Erickson, All Movie Guide

A never-completed stage musical was the source for the MGM superproduction Born to Dance. The plot is another three-sailors-on-leave affair, with Ted (James Stewart), Mush (Buddy Ebsen) and Gunny (Sid Silvers, who also co-wrote the script) romancing the eminently romanceable Nora (Eleanor Powell), Peppy (Frances Langford) and Jenny (Una Merkel). Nora aspires to become a dancing star, but her career nearly ends before it begins when she inadvertently comes between Broadway luminary Lucy James (Virginia Bruce) and her producer-lover McKay (Alan Dinehart). If anyone watching back in 1936 really cared about the plot, they probably weren't music lovers. The lovely Cole Porter score (his first written directly for the screen) includes "I've Got You Under My Skin", sung by Virginia Bruce to James Stewart, and "Easy to Love", warbled by Stewart to Eleanor Powell. Highlights include Reginald Gardiner's impersonation of a symphony-conducting traffic cop (a routine he'd previously performed on stage) and Eleanor Powell's climactic tap routine on board an art-deco battleship (a sequence later re-deployed for the climax of 1944's I Dood It). ~ Hal Erickson, All Movie Guide

This second entry in the "Jones Family" series finds Pa Jones (Jed Prouty) once again at loggerheads with his oldest son Jack (Kenneth Howell). Sonny boy wants to become a pilot, but dad wants the boy to follow in his own footsteps as a druggist. But when Jones Senior is flown back by Jones Junior from a fishing trip just in time to renew the lease on his drugstore, Pa sees things in a different light. "Guest star" Dixie Dunbar plays Jack's girlfriend, who finds herself along for the ride when the boy solos for the first time (a slapstick highlight). Sharp-eyed filmgoers noticed that the planes seen in the aerial footage weren't always well matched (one was white, the other black), but no one really cared. ~ Hal Erickson, All Movie Guide

When wealthy Mr. Ames is murdered, his beautiful wife Hope (Madeleine Carroll) is the principal suspect. She is acquitted through lack of evidence, but it's hardly a happy ending: her son Bobbie (Scotty Beckett) is taken away from her by spiteful relatives, who poison the boy's mind against her. Making matters worse, assistant DA Matt Logan (George Brent) is still convinced that Hope is guilty. Upon seeing Hope's devotion to her child, Logan softens a bit and alters his strategy. He offers a huge reward for additional information pertaining to the case, ostensibly to prove Mrs. Ames' guilt, but actually to clear her name so that she and her son can be reunited. If the outcome of The Case Against Mrs. Ames seems predictable, it is only because the actor who plays the real murderer was nearly always revealed as the "surprise" culprit in the final reel. ~ Hal Erickson, All Movie Guide

A Kathleen Norris novel was the source for this romantic drama, which begins when widowed navy doctor Quentin Harden (Ralph Bellamy) falls in love with nurse Vicki Blake (Claire Trevor). Despite her awareness that most naval marriages end in divorce, Vicki says "yes" when Harden proposes. Soon she begins to suspect that he still carries a torch for his late wife, but she remains with Harden for the sake of his crippled daughter (Anne Howard). Vicki's loyalty is rewarded when Harden proves once and for all that he is in love with her, and only her. Warren Hymer provides comic relief as a goofy gob who deliberately gets injured so he can enjoy the attentions of a bevy of beautiful nurses. Navy Wife was largely filmed on location at the U.S. Naval Base in Pearl Harbor, Hawaii. ~ Hal Erickson, All Movie Guide

Spendthrift gives the modern viewer a pretty good idea how Hollywood planned to "mold" the image of new star Henry Fonda. The Lanky One is cast as a profligate, polo-playing playboy, married to a beautiful but superficial heiress (Mary Brian). They divorce, and the wife gets all the money. But the humbled (and impoverished) Fonda finds true love in the arms of Pat Paterson, who cares nothing for material things. So obscure is this screwball comedy that, when Henry Fonda passed away in 1982 and newspapers printed the list of his films, some people thought that Spendthrift was the working title for a more famous film--or that it had never really been filmed at all! ~ Hal Erickson, All Movie Guide

In this drama, a group of young cadets in a military academy struggle to overcome their personal problems and make it through school. One of the lads is particularly troubled because he feels abandoned by his dad. In the end, the despondent youth nearly commits suicide by trying to paddle his canoe over a dam. Fortunately, his father realizes his mistakes and shows up in time to save the boy. Look carefully for Frances Farmer in a bit part as a colonel's kindly daughter. ~ Sandra Brennan, All Movie Guide

En route from Honolulu to Los Angeles by steamship, Charlie Chan (Warner Oland) is pressed into action when a fellow passenger is killed. The dead man was a prominent horse breeder, whose favorite stallion has been entered in the Santa Anita handicap. At first glance, it appears as though the victim has been kicked to death by his own horse, but further investigation reveals the complicity of a crooked gambling ring. The excitement of the "photo finish" climax is amplified when Charlie and Number One Son Lee (Keye Luke) are kidnapped by the gamblers -- and the murderer still hasn't been revealed! The best line in Charlie Chan at the Race Track occurs at the end, when Lee excitedly bursts into a room with a vital clue that Charlie has already revealed, whereupon Mr. Chan murmurs: "Please -- save clue for next case." ~ Hal Erickson, All Movie Guide