Lumsden Hare Movies

Don Ameche, an American news bureau chief stationed in London, is frustrated by the British government's censorship of his wildly speculative dispatches to the United States. Joan Bennett is the government Teletype operator assigned to make sure that Ameche doesn't send out any story that hasn't been cleared. At first adversarial towards each other, Ameche and Bennet fall in love while huddled in various bomb shelters during the 1940 London blitz. Clearly inspired by Hitchcock's Foreign Correspondent (40), Confirm or Deny was one of many "preparedness" films turned out by Hollywood in the months just prior to Pearl Harbor. Any political proselytizing, however, takes second place to the Don Ameche/Joan Bennett love story. ~ Hal Erickson, All Movie Guide

Wealthy, sheltered Joan Fontaine is swept off her feet by charming ne'er-do-well Cary Grant. Though warned that Grant is little more than a fortune-hunter, Fontaine marries him anyway. She remains loyal to her irresponsible husband as he plows his way from one disreputable business scheme to another. Gradually, Fontaine comes to the conclusion that Grant intends to do away with her in order to collect her inheritance...a suspicion confirmed when Grant's likeable business partner Nigel Bruce dies under mysterious circumstances. To his dying day, Hitchcock insisted that he wanted to retain the novelist Francis Iles' original ending, but that the RKO executives intervened. Fontaine won an Academy Award for her work. ~ Hal Erickson, All Movie Guide

One Night in Lisbon is one of several pre-1942 films which used the screwball-comedy form to comment upon the raging war in Europe. While transporting American warplanes to the beleagured RAF, Texas flyboy Dwight Houston (Fred MacMurray) is caught in a London air raid. Scurrying to a shelter, Dwight meets icy, well-bred Briton Leonora Pettycote (Madeleine Carroll), with whom he falls in love--a feeling that is far from mutual at first. Eventually responding to Dwight's charms, Leonora agrees to join him for a night's revelries (as soon as the Nazi bombers head home, that is), but their budding relationship is complicated by the unexpected presence of Dwight's ex-wife Gerry Houston (Patricia Morrison and Leonora's erstwhile sweetheart, Cmdr. Peter Walmsley (John Loder). Escaping their respective suitors, Dwight and Leonara end up in neutral Lisbon, only to land in the middle of a Nazi spy ring. Although poor Leonora gets the worst of it at the hands of the villains, she is game enough to realize that she wants to spend the rest of her life with the footloose Dwight. The film is filled to overflowing with familiar character faces, including Britishers Edmund Gwenn and Dame May Whitty, French émigré Marcel Dalio and even perennial Laurel and Hardy foil James Finlayson. One Night in Lisbon was based on There's Always Juliet, a pre-WW2 play by John Van Druten. ~ Hal Erickson, All Movie Guide

As part of his new contract with Warner Bros., Edward G. Robinson agreed to appear in the gangster comedy Brother Orchid on the condition that the studio permit him to play the leading role in the lavish biopic A Dispatch from Reuters. Robinson is cast as Baron Paul Julius Reiter, who in 1833 inaugurates a "pigeon post" messenger service which is soon rendered obsolete by the invention of the telegraph. Eventually adapting to the new communications process, Reuters is able to extends his links to the major capitals of Europe, achieving success by scooping his competition with a transcription of a speech by Louis Napoleon. By 1858, Reuters has expanded his operation to the English-speaking countries, seriously over-extending himself financially. Ultimately, Reuters is rescued from bankruptcy in 1865 when he broadcasts on a worldwide basis the news of President Lincoln's assassination-even before the American ambassador in England has been informed of the tragedy. Throughout the highs and lows of his career, Reuters is encouraged by his loyal and loving wife Ida (Edna Best), who continually reminds him that he is a communicator and not a grandstander. Though not as entertaining and satisfying as Robinson's previous biographical film Dr. Ehrlich's Magic Bullet, A Dispatch from Reuters' benefits immeasurably from the almost terrifying expertise of the Warners production staff and its stellar supporting cast (Eddie Albert, Gene Lockhart, Nigel Bruce, Otto Kruger et. al.) ~ Hal Erickson, All Movie Guide

Based on the novel by Daphne du Maurier, the classic psychological thriller Rebecca was Alfred Hitchcock's first American film. Joan Fontaine plays the unnamed narrator, a young woman who works as a companion to the well-to-do Mrs. Van Hopper (Florence Bates). She meets the wealthy widower Maxim de Winter (Laurence Olivier) in Monte Carlo, where they fall in love and get married. Maxim takes his new bride to Manderlay, a large country estate in Cornwall. However, the mansion's many servants refuse to accept her as the new lady of the house. They seem to be loyal to Maxim's first wife, Rebecca, who died under mysterious circumstances. Particularly cruel to her is the prim housekeeper Mrs. Danvers (Judith Anderson), who is obsessed with Rebecca. She continually attests to her beauty and virtues (referring to her as "the real Mrs. de Winter") and even preserves her former bedroom as a shrine. The new Mrs. de Winter is nearly driven to madness as she begins to doubt her relationship with her husband and the presence of Rebecca starts to haunt her. Eventually, an investigation leads to the revelation about Rebecca's true nature. Producer David O. Selznick had the final cut of the picture, which was drastically altered from Hitchcock's original vision. ~ Andrea LeVasseur, All Movie Guide

This exciting adventure is set in the rugged Australian outback back when the continent was used as a giant penal colony for criminals of the British empire, and tells the story of a fugitive leader and his band who like Robin of old try to prevent a greedy governor from stealing rancher's land. ~ Sandra Brennan, All Movie Guide

For a generation of radio fans, Lionel Barrymore was the definitive Ebeneezer Scrooge. Alas, Barrymore was crippled by arthritis by the time MGM got around to filming Charles Dickens' A Christmas Carol in 1938, so the Scrooge role went to contract player Reginald Owen - who, though hardly in the Barrymore league, does a splendid job. Hugo Butler's screenplay must make some adjustments from the source material. The Ghost of Christmas Past, for example, is played not by a robust middle-aged man but by a beautiful young woman (Ann Rutherford). Impeccably cast, the film includes such reliable character players as Leo G. Carroll (Marley's Ghost), Barry McKay (Scrooge's nephew Fred) and Gene and Kathleen Lockhart (Bob and Mrs. Cratchit). The Lockhart's teenaged daughter June makes her screen debut as one of the Cratchit children, while Terry Kilburn is a fine, non-sentimental Tiny Tim. Commenably short for a major production (69 minutes), MGM's Christmas Carol is one of the best adaptations of the oft-filmed Dickens Yuletide classic, and definitely on equal footing with the more famous 1951 Alastair Sim version. ~ Hal Erickson, All Movie Guide

The second of Paul Muni's biographical films for Warner Bros., the Oscar-winning The Life of Emile Zola is by far the best, even allowing for the dramatic license taken with the material. When first we meet French novelist and essayist Zola, he is starving in a Parisian garret with his painter friend, Paul Cezanne. Each time Zola attempts to write "the truth," he is stymied by governmental censors. Still, he is able to achieve both fame and fortune with the publication of "Nana," an unardorned and best-selling tale of a prostitute (whom we can safely assume was not quite as likeable or attractive as Erin O'Brien-Moore, who plays the novel's "role model"). The lion's share of the film is devoted to Zola's attempts to clear the reputation of Army captain Alfred Dreyfus (Joseph Schildkraut), who has been framed on a charge of treason by his superiors and condemned to Devil's Island. Publishing his famous manifesto "J'accuse," Zola leaves himself wide open for public condemnation and criminal prosecution. Though he delivers a brilliant self-defense in court, Zola is found guilty. Forced to flee to England, he continues railing against the unjust, corrupt military establishment, eventually forcing a retrial and exoneration of Dreyfus. Alas, Zola is killed in a freak accident at home before he can meet the liberated Dreyfus. At his funeral, Emile Zola is eulogized by Anatole France (Morris Carnovsky), who refers to the fallen crusader as "a moment of the conscience of man." For various reasons -- some dramatic, some legal -- the actual facts of "L'affaire Dreyfus" are altered by the Norman Reilly Raine/Heinz Herald/Geza Herczeg screenplay.

The fact that Dreyfus was railroaded because he was Jewish is obscured; in fact, except for a very brief visual reference, the word "Jew" is never mentioned. Only those villains whose names were a matter of public record (Major Dort, Major Esterhazy) are specifically identified. Others are referred to as the Chief of Staff, the Minister of War, etc. to avoid lawsuits from their descendants (remember that the events depicted in the film, most of which take place between 1894 and 1902, were still within living memory in 1937). As for Dreyfus himself, he was not freed and restored to rank in 1902, the year of Zola's death, but in 1906-after being found guilty again in an 1899 retrial (Dreyfus died in 1935, outliving everyone else involved in the case). These historical gaffes can be forgiven in the light of the film's overall message: that a single small, clear voice can fight City Hall. If for nothing else, The Life of Emile Zola deserves classic status due to Paul Muni's towering performance, most notably in the unforgettable summation scene: "By all that I have done for France, by my works -- by all that I have written, I swear to you that Dreyfus is innocent. May all that melt away -- may my name be forgotten, if Dreyfus is not innocent. He is innocent." ~ Hal Erickson, All Movie Guide

The 1936 comedy-mystery The Princess Comes Across might well have been inspired by a real-life incident during the silent-movie era, in which a crafty San Francisco stenographer hoodwinked the Hollywood elite into believing that she was a Spanish princess. Carole Lombard stars as an alluring Swedish beauty who travels under the name of Princess Olga. Everyone whom she meets en route to America on the steamship Mammoth bows and scrapes to the Princess, while Hollywood anxiously awaits her arrival to star her in a big-budget film. Only the ship's bandleader, King Mantell (Fred MacMurray), refuses to defer to Olga, sensing that she may not be all she claims. Mantell's instincts are right on target: the "Princess" is a brass-nickel phony, a Brooklyn girl named Wanda Nash who has cooked up her royal guise with drama coach Gertrude (Alison Skipworth) as a publicity stunt to crash into movies. Unfortunately, a weaselly blackmailer Darcy (Porter Hall) gloms onto Wanda's true identity and offers to keep quiet in exchange for a huge cash settlment. At the same time, Darcy is attempting to shake down several other passengers on the Mammoth, including King Mantell. Inevitably, Darcy is found murdered in the "Princess"'s stateroom, and Wanda finds herself one of several likely suspects, among them Mantell. A quintet of international detectives, travelling to a convention in America, sets out to solve the mystery, which becomes even more mysterious when one of the detectives also turns up dead. Taking matters in his own hands, Mantell vows to clear Wanda's name, and in the course of things he realizes that he's madly in love with her--but will Wanda give up her hoax, and her future showbiz career, for Mantell's sake? Among the many highlights in this engagingly daffy film is Fred MacMurray's rendition of the enchantingly forgettable song "My Concertina." ~ Hal Erickson, All Movie Guide

Adventurer-for-hire Victor McLaglen is hired by a political faction in a mythical European kingdom. McLaglen's job is to kidnap the young prince (Freddie Bartholomew) so that his employers can take over the government. The prince enjoys the experience because it releases him from the confines of protocol. When the prince is reluctantly rescued, McLaglen is thrown in prison. He escapes upon the realization that the political party he'd been working for actually plans to kill the prince and set up a dictatorship. McLaglen rescues the prince and preserves the Status Quo--and his blossoming friendship with the affable young monarch. Curiously enough, Professional Soldier is based on a story by Damon Runyon, taking a break from his "Guys and Dolls" chronicles. ~ Hal Erickson, All Movie Guide

Two silent film versions preceded this 1936 Hollywood adaptation of the 19th century novel by the writer Ouida Bergere. It is set in Saharan Africa but was filmed in the Arizona desert. Ronald Colman is Corporal Victor, a man who has taken the rap for a crime committed by his younger brother. Victor has joined the French Foreign Legion to escape his past, taking with him his valet Rake (Herbert Mundin). His commander is the ruthless Major Doyle (Victor McLaglen), who becomes jealous when Cigarette (Claudette Colbert), a nightclub singer with a yen for men in uniforms, sets her sights on Victor. Victor, however, lusts after a more refined Englishwoman named Lady Venetia (Rosalind Russell), and he eventually dumps Cigarette for Venetia. McLaglen sends Victor off on a difficult mission from which he hopes that he won't return. ~ Michael Betzold, All Movie Guide

The Great Impersonation is based on the E. Phillips Oppenheim espionage novel of the same name, previously filmed in 1921. During WW I, drunken, dissolute British nobleman Everard Dominey (Edmund Lowe) wanders into the African jungle, where he meets his exact double, German spy Von Ragenstein (also Edmund Lowe). The scene shifts back to England, where, apparently, Von Ragenstein has assumed Dominey's identity after the latter is reported killed. The actual identity of the protagonist is kept secret until the very end. Either way, it's a story of redemption: If he's really Von Ragenstein, he may very well be persuaded to cast his lot with the British; if he's really Dominey, he might just sober up and assume his proper place in society. The film is brightened by the presence of two former Bride of Frankenstein co-stars: Valerie Hobson, then only a teenager, delivers one of her best performances as Dominey's distraught wife, while Dwight Frye goes through his usual "Renfield" paces as a roving lunatic. Both the 1935 Great Impersonation and the 1945 remake with Ralph Bellamy and Evelyn Ankers were later included in Universal's "Shock Theater" TV package, even though both films are more suspenseful than shocking. ~ Hal Erickson, All Movie Guide

This French-language version of the 1935 Hollywood musical Folies Bergere retains the original star (Maurice Chevalier) and director (Roy Del Ruth) and Busby Berkeley's big-scale production numbers. It also follows substantially the same plot: A nightclub entertainer (Chevalier), is hired to pose as his look-alike (also Chevalier), a prominent aviation tycoon. The masquerade causes consternation for the entertainer's girlfriend, who of course has no idea what's going on, and for the tycoon's wife, who can't understand why her cold-fish husband has suddenly become so warm and demonstrative. Beyond the obvious language change, the major differences between the two Folies Bergeres are found in their supporting casts: for example, Natalie Paley plays the tycoon's spouse role originally essayed by Merle Oberon, while Sim Viva, as the girlfriend, fills the dancing shoes of the English-language version's Ann Sothern. Folies Bergere served as the basis for two future 20th Century-Fox musicals, That Night in Rio and On the Riviera, neither of which were released in French versions. ~ Hal Erickson, All Movie Guide