Charles Halton Movies

A lively espionage drama that reunited the stars and director of the previous year's The Maltese Falcon, Across the Pacific was originally envisioned as the story of a Japanese invasion of Hawaii. Real-life events of December of 1941, however, precluded such a scenario and the location was changed to the Panama Canal. For reasons known only to Warner Bros., the title was retained despite the fact that none of the action takes place in the Pacific. Humphrey Bogart plays Rick Leland, a disgraced ex-army man, who, after being turned down by the Canadian military, jumps a Japanese steamer bound for the Panama Canal Zone. Also onboard are Alberta Marlow (Mary Astor), a small-town girl claiming to be en route to Los Angeles; Dr. Lorenz (Sydney Greenstreet), a corpulent sociologist with a suspiciously friendly regard for all things Japanese; and Joe Totsuiko (Victor Sen Yung), a happy-go-lucky second generation Japanese-American on his way to visit the old country. But no one is exactly who he or she claims to be and the voyage from Halifax via New York City to Panama becomes a matter of life and death for the passengers in general, and for the future of the United States in particular. Director John Huston was forced to leave the film three weeks into the four-week shooting schedule when summoned to report to the Department of Special Services. According to Huston, he purposefully placed Humphrey Bogart's character in a highly precarious situation and left it up to his replacement, Vincent Sherman, to come up with the solution -- which Sherman did in an especially fiery climax. ~ Hans J. Wollstein, All Movie Guide

The Lady Bodyguard of the title is pretty but somewhat physically frail A. C. Baker (Anne Shirley). An advertising representative for an insurance company, A. C. gets into trouble when she okays several $1000 life-insurance policies as a publicity stunt. One of the recipients is Terry Moore (Eddie Albert), who, thanks to a typographical error, finds that he's been insured for one million dollars. Desperately, A. C. tries to talk Terry into cancelling the policy, but his avaricious beneficiaries don't want this to happen. There are laughs and thrills aplenty as a sleep-benumbed Terry pilots an airplane carrying A. C. and all of those vultures who'd benefit mightily from his demise. ~ Hal Erickson, All Movie Guide

That Other Woman in this 20th Century-Fox programmer turns out to be Emily (Virginia Gilmore), faithful secretary to master architect Henry Summers (James Ellison). Hoping to trap her boss into marriage, Emily begins sending "mash notes" to Henry, purportedly from a mysterious female admirer. She then coerces her old pal Ralph (Dan Duryea) to pose as her jealous Southern-fried boy friend of the nonexistent letter-writer. Poor Henry, convinced that Ralph is the gangster who's been threatening him with bodily harm, skeedaddles to parts unknown. Our heroine spends the rest of the picture chasing Henry until he finally catches her. ~ Hal Erickson, All Movie Guide

With its slight resemblance to Destry Rides Again (1939) -- probably not entirely coincidental -- this rousing Western from Republic Pictures remains a joy throughout. John Wayne plays Tom Craig, a mild-mannered druggist from Boston who opens a shop in wild and woolly Sacramento shortly before the Gold Rush. The town is "owned" by the Dawson brothers, Britt (Albert Dekker) and Joe (Dick Purcell), who poison Craig's tonic when saloon hostess Lacey Miller (Binnie Barnes) takes too much of an interest in the handsome newcomer. Town drunk Whitey (Emmett Lynn) has one drink too many, and all of Sacramento is soon in a lynching mood. The news of "gold in them thar hills" saves the druggist in the nick of time, but his business is destroyed. While everyone is heading for the gold fields, Craig prepares to leave town with snobbish debutante Ellen Sanford (Helen Parrish), whom he intends to marry. News of typhoid fever among the prospectors changes his mind, however, and the man once referred to as "a human hitchin' post instead of a two-legged man," risks his own life to save the suffering populace. The Dawson brothers, meanwhile, plan to hijack the medical supplies and sell them to the highest bidder, but when Britt Dawson learns that Lacey is helping the sick and may be stricken with the disease herself, he has a change of heart and eventually confesses to spiking Craig's medicine. Cast against type for most of the film, John Wayne fails to make his amiable druggist entirely believable but remains simply John Wayne throughout -- which is as it should be. Binnie Barnes is rowdy and fun whether leading a chorus of "California Joe" by Johnny Marvin and Fred Rose, or jealously interrupting a tête-à-tête between Wayne and 19-year-old Helen Parrish. Usually cast as glacial "other women" in Hollywood films, the British-born Barnes had actually begun her professional career touring Europe and South Africa with bucolic American headliner Tex McLeod, which was as good a preparation as any to play In Old California's saloon belle. Patsy Kelly, who shoots down her laundry with a Winchester, and Edgar Kennedy, as Wayne's tooth-ache plagued sidekick, add to the general fun. ~ Hans J. Wollstein, All Movie Guide

Regarded by many aficionados as the best of the "Henry Aldrich" series, Henry Aldrich, Editor is a master blend of laughs and suspense. Appointed editor of his high school newspaper, hapless Henry (James Lydon) becomes intrigued by a series of mysterious fires. A mild, timid little fellow named Nero Smith (Francis Pierlot) shows up to tip off Henry as to the time and place of the next conflagration. Never suspecting that Nero is the pyromaniac who's been setting the blazes (the man's first name should have given it away from the get-go), Henry prints the story-and is immediately accused of being the firebug himself! The climax finds our hero trapped with his pal Dizzy (Charles Smith), his girl friend Martha (Rita Quigley) and the ubiquitous Nero Smith in the middle of a burning building-and it sure looks like he's not going to be able to extricate himself from his dilemma this time. ~ Hal Erickson, All Movie Guide

Ernst Lubitsch directs the 1942 political satire classic To Be or Not to Be, which marked the final screen appearance of comedienne Carole Lombard. In Warsaw at the beginning of WWII, Maria Tura (Lombard) and husband Joseph (Jack Benny) perform anti-Nazi plays with their theater troupe until they are forced to switch to Shakespeare's Hamlet. Lt. Stanislav Sobinski (Robert Stack) falls for Maria and meets up with her during Joseph's famous "To Be or Not to Be" speech as Hamlet. When Stanislav is eventually dispatched for war, he implicates Maria with Professor Siletsky (Stanley Ridges), who has a secret plan to destroy the Warsaw resistance. The Polish theater troupe is then forced to use their theatrical skills to ensure their survival. Eventually, they turn to impersonating Nazi officers -- and even Hitler himself -- in order to outwit the enemy and keep the resistance safe from spies. To Be or Not to Be opened to a controversial release in 1942, when the U.S. was still very much involved in WWII. It was remade in 1983 starring Mel Brooks and real-life wife Anne Bancroft. ~ Andrea LeVasseur, All Movie Guide

This Buck Privates knockoff concerns the misadventures of the three Patterson brothers: Charley (Wayne Morris), Eddie (Tom Brown) and Kenneth (William T. Orr). Pampered by their pacifistic mother Margaret (Irene Rich), the Patterson boys do everything they can to avoid being drafted into the Army. Once they've donned unifom, however, our heroes calmly and courageously do their patriotic duty, while their mother at last realizes it's all for the best. Before this happens, however, the audience is subjected to all manner of goofy slapstick setpieces, including a trained-seal bit right out of the Mack Sennett era. Incidentally, Three Sons O' Guns costar William T. Orr was the son-in-law of Jack L. Warner, whose studio produced the film. ~ Hal Erickson, All Movie Guide

MGM was doing so well in 1941 that it could afford the occasional "prestige" film with little box-office appeal. Based on the novel by J.P. Marquand, H.M. Pulham, Esq., stars Robert Young as a successful but stuffy Boston businessman. The glimmer of sadness in Young's eyes indicates that his ascension to the top was not without its cost. In flashbacks, we see how Young considered changing the track his life was on in order to marry Hedy Lamarr. After marrying his wife, however, the man never strays. The film utilizes the Strange Interlude approach of interior monologues heard on the soundtrack, and anticipates Citizen Kane (which hadn't yet been released when Pulham was filmed) by building its entire narrative on the flashback structure. H.M. Pulham, Esq. contains what may well be Robert Young's best performance, though few filmgoers in 1941 were interested enough to see it. ~ Hal Erickson, All Movie Guide

Like MGM's Whistling in the Dark, Warner Bros.' The Smiling Ghost was inspired by the success of Paramount's comedy-mystery The Ghost Breakers--even unto the casting of Ghost Breakers' Willie Best in a similar role. During a gloriously oversized thunderstorm, hapless hero Lucky Downing (Wayne Morris) arrives at the mansion of his fiancee, heiress Eleanor B. Fairchild. Lucky hopes to break the jinx that seems to hang over Eleanor, whose last three boyfriends all met with mysterious deaths ("Anyone can be bitten by a snake." "On the fourteenth floor of a New York Hotel?") To do this, he tries to solve the triple mystery himself, aided and abetted by troublesome girl reporter Lil Bastow (Brenda Marshall) and timorous black manservant Clarence (Best). After a night of terror, replete with clutching hands and sliding panels, the murderer is revealed-after which Clarence participates in a closing gag which single-handedly sets race relations back 50 years. The Smiling Ghost was cowritten by Stuart Palmer, the creator of spinster sleuth Hildegarde Withers and a past master of locked-room mysteries with a comic touch. ~ Hal Erickson, All Movie Guide

Author Hartzell Spence's popular biography of his preacher father was the source for One Foot in Heaven. Fredric March stars as Methodist cleric William Spence, whose calling requires him to move his family from parish to parish on a near-monthly basis. The children resent the fact that they're never able to sustain friendships, while Reverend Spence is equally upset by what he perceives to be encroaching immorality in the early 20th century. Spence's stubbornness loses him as many parishioners as he gains, but he is gradually humanized by a series of random events. In the best of these, the Reverend, who has railed against movies from the pulpit, attends a "scandalous" picture show--and as the picture reaches its climax, he finds himself cheering on the good guys as loudly as everyone else! ~ Hal Erickson, All Movie Guide

A partial remake of 1936's Wanted: Jane Turner, Lady Scarface is a seedy but entertaining tour de force for the great Judith Anderson. Embittered over the ugly facial scar which covers the left side of her face, a woman named Slade becomes a criminal mastermind. The cops have no idea that the elusive Slade is female, which enables her to move about freely without attracting attention. After a robbery-murder, Slade has her share of the loot mailed to her at a post-office box registered under the phony name of Mary Powell. When the real Mary Powell (Mildred Coles) receives the stolen loot in the mail, the fur-and the bullets-really begin to fly. Judith Anderson once explained that she accepted the starring role in Lady Scarface in hopes that the film would do for her what Little Caesar did for Edward G. Robinson. It didn't. ~ Hal Erickson, All Movie Guide

Meet the Chump is an hour's worth of nonsense ideally suited to the talents of Hugh "Woo Woo" Herbert. The star plays Hugh Mansfield, the bumbling trustee of the estate of his nephew John Mansfield (Lewis Howard), who will come into a fortune when he reaches his 25th birthday. As John's natal day approaches, Hugh begins to panic, as well he should: thanks to his ineptitude, he's managed to fritter away $10 million. Hoping to cover up his financial foolishness, Hugh feigns insanity (it's not much of a stretch) and allows himself to be thrown into the booby hatch. The plot is resolved by the timely arrival of gangsters in the last reel, among them the notorious Stinky Fink (Shemp Howard, who seems right at home in this elongated 2-reel comedy). ~ Hal Erickson, All Movie Guide

There were two separate 1940s film series inspired by Philips H. Lord's radio weekly Mr. District Attorney; the first was produced by Republic, the second by Paramount's Pine-Thomas unit. Republic's inaugural entry, appropriately titled Mr. District Attorney, eschews the sobriety of the radio original and plays for laughs. Dennis O'Keefe stars as P. Cadwallader Jones, a guileless assistant DA straight out of Harvard. Managing to louse up his first case, Jones redeems himself by revealing that one of his boss' aides is in league with master criminal Mr. Hyde (Peter Lorre). Florence Rice, daughter of sports columnist Grantland Rice, is appropriately cast as a newspaper sob sister. The best line in Mr. District Attorney comes early in the proceedings: When asked what the "P" stands for, P. Cadwallader Jones replies ruefully "Prince. But I didn't want to be whistled for." ~ Hal Erickson, All Movie Guide