Lawrence Hanray Movies

Though it pales in comparison to the Royal Shakespeare Company's epic staging of the original novel in the early 1980s, this compact adaptation of Dickens' Nicholas Nickleby is most entertaining on its own terms. Derek Bond plays the title character, a resourceful young Britisher forced to protect his family against the demonic machinations of his wicked Uncle Ralph (Cedric Hardwicke at his most odious). Cast out into the cold cruel world, Nicholas Nickleby deals adroitly with friend and foe alike, eventually coming full circle to mete out just desserts to his unspeakable uncle. With only 108 minutes' running time at his disposal, screenwriter John Dighton (later a mainstay of the Ealing Comedies) was forced to eliminate several of the novel's 52 highly distinctive characters and intricate subplots. There is evidence that there was even more cutting after the film was completed; for example, the tatty touring theatrical troupe managed by the delightfully pompous Vincent Crummles (Stanley Holloway) appears only in a series of abrupt vignettes, while Crummles himself is confined to a mere handful of lines and gestures. Still, many of Dickens' colorful characters are vividly realized, especially the unfortunate, mentally challenged Smike (Aubrey Woods). When released in America, Nicholas Nickleby was pared down to 95 minutes, with surprisingly little damage to the continuity. ~ Hal Erickson, Rovi

English actor Clive Brook's only directorial effort, On Approval, is based upon Frederick Lonsdale's frothy 1926 play, though reset in the late 19th century. Brook plays George, a titled duke whose wealth has largely been spent but who has no intention of settling further into genteel poverty. George is enormously appealing to Helen (played by Googie Withers), a good-natured American heiress, and is equally appalling to Maria (Bea Lillie), an Englishwoman of considerable means. The imperious Maria is dating the eternally devoted Richard (Roland Culver), who worships her. Maria decides that she will marry Richard -- after he spends a month with her in a secluded Scottish castle, where she will try him out "on approval." Maria, however, does not intend to discover whether they are suitable for all aspects of marriage; every night he is to row across the loch and spend his nights at a local inn. Neither Maria nor Richard will lack for company, though, as George and Helen invite themselves along. Things get complicated when it turns out that there are no rooms available at the inn, leaving the men to share the castle with the women -- a prospect that so horrifies the servants that they promptly leave the two couples high and dry. Left to their own devices, the foursome get to know each other -- and they don't necessarily like what they find. ~ Craig Butler, Rovi

Will Hay, he of the pince-nez, outraged sniff, and overall demeanor of dignified incompetence, stars in (and codirects) another of his popular British comedies. In My Learned Friend, Hay is a seedy lawyer, one of several people targeted for death by a vengeful escaped convict. As the criminal's victims pile up, Hay can't help but feel a bit insecure. When he ends up the only survivor on the list, Hay begins to really worry. A slapstick climax on the clock-face of Big Ben caps this rapid-fire comedy of murders. Released in 1943, My Learned Friend was Will Hay's final film; he died of a lingering illness in 1949. ~ Hal Erickson, Rovi

Paramount Pictures' British division was responsible for this adaptation of A.J. Cronin's novel Hatter's Castle. Robert Newton is appropriately mean-spirited as an 1890s hatter, James Brodie, who is anxious to claw his way up from poverty. Desperate to make himself socially acceptable as his income increases, Brodie proceeds to make life miserable for those closest to him: his wife (Beatrice Varley) and daughter (Deborah Kerr). For all his blinkered social climbing, Brodie can never truly escape his true station in life -- a moral better suited to the class-conscious British audiences than the equal-opportunity Americans. Hatter's Castle was well distributed in the U.S. through Paramount's intimidatingly efficient studio-owned theater circuit. ~ Hal Erickson, Rovi

Laurence Olivier plays a young Londoner implicated in a brutal murder. According to the rules of British law, he is permitted 21 days of comparative freedom from the time of the first hearing to the time of trial -- provided he does not leave London. As the three weeks pass, Olivier falls deeply in love with girlfriend Vivien Leigh, who at first believes in his innocence. But as the deadline approaches, Olivier's mood swings and erratic behavior shakes Leigh's faith in him. Scripted by British suspense expert Graham Greene, 21 Days Together was originally released under the simpler title 21 Days. ~ Hal Erickson, Rovi

A Royal Divorce is the misleading title bestowed upon this dramatization of certain events in the lives of Napoleon and Josephine. Making her first screen appearance in two years, Hollywood's Ruth Chatterton tops the cast as Josephine, whose widowhood is relieved upon her marriage to up-and-coming military officer Napoleon (France's Pierre Blanchar). Though she's several years older than her husband, Josephine tries to be the wife he wants-but she cannot give him what he really wants, namely an heir. Miles Malleson's screenplay puts forth the theory that Josephine agreed to her divorce from the Emperor so that he might father a legitimate child by his mistress, Marie Louise. In terms of costumes and settings, A Royal Divorce is authentic to a fault; in terms of adherence to the facts, it's a bit shaky, though undeniably dramatic. ~ Hal Erickson, Rovi

In this melodrama, an old fashioned bad guy is determined to have an innocent young maiden for himself. To do so, he frames her beloved fiance and gets him sent to jail. His wicked plot is foiled when the man is freed and the lovers get back together. ~ Sandra Brennan, Rovi

Alan (Frank Leighton) is engaged to Mary (Judy Kelly), a girl living in coastal Devonshire. While Alan is on a business trip, a man is murdered, and all evidence points to our hero, who is unable to establish an alibi. Sentenced to prison, Alan escapes, only to find out that Mary, convinced that her former fiancee is a murderer, has married another. Slowly but surely, Mary comes to believe in Alan's innocence -- a fact that does not bode well for her husband, who up until the revelatory final reel insists that he's Alan's best friend. There are few surprises in the outcome of Last Chance, but the film is professionally assembled and ably acted. ~ Hal Erickson, Rovi

The rise of British entertainer Graci Fields from humble mill girl to the most popular and highest paid performer in Great Britain during the Depression era is chronicled in this biographical drama. Fields got her big break when a composer heard her singing in a ramshackle pub. ~ Iotis Erlewine, Rovi

The unorthodox teaming of Vivien Leigh and Conrad Veidt is but one of the many pleasures of the 1937 spy yarn Dark Journey. Leigh plays a Stockholm dress-shop owner during World War I, who, being a neutral, is permitted to travel unmolested to and from France. Veidt plays a supposedly disgraced German officer who is actually head of his country's secret service. The two fall in love, despite the fact that Leigh has a secret as well: she is a double agent, sympathetic towards the Allied cause. During one of Leigh's voyages to France, her ship is captured by a German U-boat. Veidt swaggers on board, threatening to sink the ship if Leigh is not turned over to him. But the circumstances reverse themselves, and Veidt finds himself Leigh's prisoner--a circumstance that is not altogether unpleasant for him. When originally released in England, Dark Journey bore the title The Anxious Years. ~ Hal Erickson, Rovi

When his Hollywood starring career dried up in the mid-1930s, matinee idol Charles Farrell headed to England, where he played newspaper reporter Brian Gaunt in the fast-paced meller Midnight Menace. The storyline acknowledges the fact that Television was firmly established in England in 1937, with the BBC beaming out programs on a regular schedule. On this occasion, however, a TV device is being used for nefarious purposes by a gang of foreign munitions manufacturers, operating out of a stationery shop in Soho. Head villain Peters (Fritz Kortner) intends to destroy a London disarmament conference in a midnight air raid, all the while posing as the head of a pacifistic organization. The fearless Brian Gaunt gets wind of this scheme and races against time to avert disaster. ~ Hal Erickson, Rovi

Shortly before his desultory political career, famed Polish concert pianist Jan Paderewski starred as himself in the British romantic drama Moonlight Sonata. The bulk of the film is set in Sweden, where Eric Molander (Charles Farrell) professes his love for beautiful young baroness Lindenborg (Marie Tempest). Nearby, a plane carrying Paderewski and several other passengers is forced to land due to bad weather. The travelers take refuge on Lindenborg's estate; one of them, worldly Mario de la Costa (Eric Portman), sweeps Lindenborg off her feet. With Paderewski's implicit assistance, Molander proves that de la Costa is a fortune hunter, paving the way for a fade-out clinch for the hero and heroine. In addition to the title song, we are treated to such Paderewski "standards" as Chopin's Polonaise and the pianist's own composition Minuet in G Major. ~ Hal Erickson, Rovi