Sherry Hall Movies

Few studios ground out as many aviation melodramas as Columbia. In Above the Clouds, Robert Armstrong stars as Scoop Adams, an ace newsreel cameraman whose love affair with the bottle all but destroys him professionally. Scoop manages to get his photographer pal Dick (Richard Cromwell) fired as well, but he promises to restore Dick's reputation, some way or another. He gets his chance while covering a dirigible wreck (some three years before the Hindenburg), saving the day for both Dick and himself. The outcome of the plot hinges on a telephoto lens, a relatively new device in 1934. Dorothy Wilson hangs around in the obligatory but hardly necessary role of the love interest. ~ Hal Erickson, All Movie Guide

This second of MGM's Thin Man films reteams William Powell and Myrna Loy as, respectively, bibulous private detective Nick Charles and his socialite wife Nora. The Charleses are sucked into another murder case via Nick's lovely cousin Elissa Landi, whose husband Alan Marshall has vanished. Hubby has been conducting an affair with nightclub thrush Dorothy McNulty (later known as Penny Singleton) and is also blackmailing gangsterish Joseph Calleia. When the corpses begin piling up, Nick and Nora try to piece the clues together, with the earnest assistance of Jimmy Stewart, who carries a torch for Landi. You won't believe who turns out to be the murderer in this one--then again, given the plot's strict adherence to "least likely suspect" formula, you probably will. ~ Hal Erickson, All Movie Guide

A serious journalist is sent to France and forced to write fashion fluff pieces. Tiring of this, she decides to sneak off to find an elusive notorious rebel and write a hard-new first-hand-account of the Spanish Civil War. This lively romantic comedy chronicles her adventures after she finds him and saves him from prison by pretending he is her husband. After the break-out, they fly to France in a stolen plane. At first she only cares about her story and resists the advances of the amorous renegade. As soon as her tale hits the front page, she accepts an assignment in Berlin. She boards a train and takes off. She meets her "hubby" once again when the train accidentally runs into his car. At this point she realizes that she loves him. The two decide to hole up for a few days in a nearby French inn. While they tryst, WW II begins and she misses the scoop. That's okay, because all she and he care about now is each other. Their attitudes change dramatically when their New York-bound ship is torpedoed. ~ Sandra Brennan, All Movie Guide

Carrie is based on Sister Carrie, a novel by Theodore Dreiser. Dreiser's clumsy, unwieldy prose is streamlined into a neat and precise screenplay by Ruth and Augustus Goetz. Jennifer Jones stars as Carrie, who leaves her go-nowhere small town for the wicked metropolis of Chicago. Here she becomes the mistress of brash traveling salesman Charles Drouet (Eddie Albert), then throws him over in favor of erudite restaurant manager George Hurstwood (Laurence Olivier). Obsessed by Carrie, George steals money from his boss to support her in the manner to which he thinks she is accustomed. Left broke and disgraced by the ensuing scandal, Carrie deserts George to become an actress. Years later, the conscience-stricken Carrie tries to regenerate George, who has fallen into bum-hood. If Laurence Olivier seems a surprising casting choice in Carrie, try to imagine what the film would have been like had Cary Grant, Paramount's first choice, accepted the role. ~ Hal Erickson, All Movie Guide

Joan Crawford and William Bakewell play the spoiled-rotten grown children of stockbroker William Holden. When Wall Street lays its famous egg in 1929, Crawford and Bakewell find that they can no longer pursue their flamboyant lifestyle (for example, they'll have to put a moratorium on the sort of "lingerie parties" with which this film opens). Crawford gets a newspaper job, while Bakewell ties up with vicious bootlegger Clark Gable. When Gable is implicated in the murder of seven gangsters (a transparent reenactment of the St. Valentine's Day Massacre), Crawford's fellow reporter Cliff Edwards gets proof of Gable's complicity. Bakewell is ordered to kill Edwards; Crawford, not knowing of her brother's actions, takes Edwards' place, wooing Gable in hopes of getting a scoop. When Gable finds out that Crawford's working undercover (so to speak), he prepares to rub her out, but her life is saved by Bakewell at the cost of his own. Compared to the rest of the stick-figure leading men in Dance Fools Dance, Clark Gable stood out like a testosterone-soaked thumb, and it wouldn't be long before he'd be promoted from villains to heroes. ~ Hal Erickson, All Movie Guide

Filmed between the original Thin Man and the first of its sequels, Evelyn Prentice re-teamed William Powell and Myrna Loy as another husband-and-wife team knee deep in a murder mystery. In this one, Powell is John Prentice, a prominent lawyer with an eye for women other than his own wife. His latest interest is Nancy Harrison (Rosalind Russell, in her film debut), a client accused of manslaughter, whom Prentice successfully defended. Loy plays John's wife, Evelyn, who loves him but is hurt by his inattention and the loneliness that ensues. This leads her to engage in a flirtation of her own, with a charming writer (Harvey Stephens). The writer, however, is interested in Evelyn only for what he can get out of her and threatens to blackmail her. In a panic, she shoots him and runs away, discovering later that he has been found dead and that another woman, Judith Wilson, has been accused of his murder. Hoping that his expert legal skills will the innocent woman her acquittal, Evelyn convinces her husband to take on Wilson's defense. As the film progresses, Evelyn feels increasingly pressured to admit that she is responsible for the man's death. ~ Craig Butler, All Movie Guide

John Garfield, in the best performance of his career, portrays Joe Morse, an ambitious attorney who has long since abandoned his scruples in favor of monetary reward. Morse now represents the interests of crime boss Ben Tucker (Roy Roberts), who plans to take over the numbers racket in New York. Morse has devised a way of doing this legally and above-board, with no violence: Tucker's people will bring about the collapse of the illegal numbers racket in the city, using a race track-betting scam that will bankrupt the small-time underworld numbers banks; an investigation will ensue, along with a call for a legal numbers operation in the form of a lottery, which Tucker will control through Morse's machinations. The whole plan hinges on Morse's estranged brother, Leo (Thomas Gomez), a small-time numbers banker who is to be shielded from the collapse, and who will serve as the "legitimate" front for Tucker. Leo is the flaw in the plan, however, because not only can't he stand the sight of Joe, but he is also too honest to participate in the plan -- he doesn't want his employees, all decent people just looking to earn a living, forced into the employ of real gangsters. Joe orchestrates a series of police raids that force Leo into his corner, and Joe's plan seems to be working out, but then the whole enterprise is threatened when a rival mob, run by Tucker's former Prohibition-era partner, Fico (Paul Fix), starts pressuring Leo, trying to get to Joe and Tucker. Fico and his men aren't any different from Tucker's mob, except that they're prepared to start shooting sooner to get what they want. Tucker decides to hang tough and expects everyone, including Leo, to do the same, even when Fico starts sending thugs around to frighten everyone. Soon Joe is beset by problems on three fronts -- he wants his brother out of Tucker's combination and safe; he is trying to romance Leo's bookkeeper (Beatrice Pearson), who is too nice a girl for who he is; and his own well-being is threatened by both Fico and Tucker, and a state investigator who has already tapped the phone of Joe's otherwise respectable partner. All of these threads are pulled together in the final section of the film, which is as violent and disturbing, yet poetic and graceful a resolution as any crime film of the 1940s ever delivered. Force of Evil was star-crossed almost from the start, as many of the people involved, including star John Garfield and director Abraham Polonsky (a writer making his debut behind the camera, with help from assistant director Don Weis in doing the camera set-ups and blocking), were suspect at the time for their leftist political views. Indeed, the company that made Force of Evil, Enterprise Productions, was also in trouble for the leftist leanings of its films in the midst of the Red Scare, and went out of business just as the movie was finished -- dropped by United Artists and picked up by MGM, of all studios, Force of Evil made it into theaters during Christmas week of 1948, not the ideal schedule for something as grim (albeit great) as this film was. As it turned out, it was Polonsky's last chance to direct for more than 20 years, and Garfield's last completely successful film. And a movie that should have been a triumph for all concerned ended up a cult favorite. ~ Bruce Eder, All Movie Guide

Gambling House is a low-key remake of the 1943 Cary Grant vehicle Mr. Lucky. Victor Mature stars as Marc Fury, a foreign-born gambler who is currently facing deportation. Always looking out for Number One, Fury seeks out a legal loophole so he can sidestep naturalization--and, incidentally, avoid paying his income tax. His civic responsibilities awakened by pretty social worker Lynn Warren (Terry Moore), Fury does an 180-degree turnaround, going so far as to shake down underworld kingpin Joe Farrow (William Bendix) for $50,000, which he promptly donates to a patriotic organization headed by Warren. A surprisingly melodramatic finale caps this easy-to-take yarn. ~ Hal Erickson, All Movie Guide

Consigned to the Warner Bros. "B" unit in the mid-1930s, director Robert Florey must have had a high old time trying to inject some visual dynamics into such unprepossessing projects as Going Highbrow. Guy Kibbee and ZaSu Pitts star as Mr. and Mrs. Matt Upshaw, a nouveau riche couple clearly inspired by Bringing Up Father's Jiggs and Maggie. While Matt prefers to live his life as simply as he'd done before striking it rich, Mrs. Upshaw is bound and determined to crash high society. To appease his wife, Matt hires dimwitted lunch-counter waitress Annie (Judy Canova) to pose as the Upshaw's daughter, thereby qualifying for the upcoming debutante ball. As things turn out, Annie reveals her true identity at the worst possible time, while the Upshaws are clipped for $50,000 by obsequious social "arranger" Augie (Edward Everett Horton). Though Going Highbrow represented Judy Canova's first major role at Warner Bros., the studio was unimpressed and dropped her option; in later years, Canova admitted that the picture was "not so hot." ~ Hal Erickson, All Movie Guide

Based on a novel by Rian James, Hat Check Girl stars Sally Eilers as the title character, a pert little number named Gerry Marsh. Despite her lowly station in life, Gerry manages to fall in love with millionaire playboy Buster Collins (Ben Lyon). The fly in the ointment is blackmailing newspaper columnist Tod Reese (Monroe Owsley), who is killed by one of his many victims. Since Buster had been targeted for persecution by Reese, he finds himself the leading suspect, obliging Gerry to play detective to solve the mystery. Ginger Rogers, still a year or so removed from full stardom, steals the show as Gerry's wise-lipped best friend. ~ Hal Erickson, All Movie Guide

In this polished soap opera from MGM, Robert Taylor plays Chris Claybourne, a dedicated scientist researching a possible cure for spotted fever. However, Chris has a dark side; he has a weakness for gambling and has fallen into debt with a gangster named Fish Eye (Joseph Calleia). While visiting a casino, Chris meets Rita Wilson (Barbara Stanwyck), a gambler's shill who does some modeling on the side. Chris and Rita quickly fall in love, and when Chris is due to leave for South America on a research expedition, Rita begs him to stay with her. However, Fish Eye has been leaning on Chris for his money, and when he asks his brother Tom (John Eldridge) for a loan to pay off the debt, he agrees under one condition -- that Chris leave for South America right away, and without Rita. When Chris ships out, Rita believes that he left her behind because he didn't care for her, and to hurt him, she marries Tom and takes Chris's IOU. However, by the time Chris returns, Rita's marriage with Tom is in tatters and she's desperate to win back Chris's affection. In real life, Robert Taylor and Barbara Stanwyck were an item while shooting His Brother's Wife, and they married three years later. ~ Mark Deming, All Movie Guide

Inspired by Swiss artist Arnold Böcklin's famous painting, this seminal horror film marked the first of three collaborations between RKO producer Val Lewton and British genre star Boris Karloff. Set during the 1912 Balkan Wars, Isle of the Death featured Karloff as Greek general Pherides who, along with an American journalist (Marc Cramer), visits the gravesite of his late wife on a deserted island. They find the grave desecrated and a group of travelers held hostage by the superstitious beliefs of Kyra (Helene Thimig). One by one, the inhabitants of the island are felled by what Dr. Drossos (Ernest Dorian aka Ernst Deutsch) terms the plague, but what Kyra insists is the work of Thea (Ellen Drew), a young nurse she believes to be a "varvoloka," an ancient Greek vampire. Thea's patient, Mrs. St. Aubun (Katherine Emery), suffers from death-like trances and, sure enough, during one of her spells, she is pronounced dead by Swiss archeologist Albrecht (Jason Robards Sr. and is interred alive. ~ Hans J. Wollstein, All Movie Guide