W. Scott Darling Movies

Black Midnight was the fourth of six Monogram films co-produced by actor Roddy McDowall. The film stars McDowall as Scott Jordan, whose mission in life is to train a wild stallion named Black Midnight. Subplots include a romance between Jordan and pretty Cindy Baxter (Lynn Thomas), and the apparently crooked activities of Scott's wastrel cousin Daniel (Rand Brooks). Future Sky King star Kirby Grant is most effective in the supporting role of the local sheriff. Black Midnight was directed by Oscar Boetticher, who as "Budd" Boetticher went on to movie-cultist fame as the helmsman of several above-average Randolph Scott westerns of the 1950s. ~ Hal Erickson, Rovi

The Golden Eye is a Charlie Chan mystery set on a Southwestern ranch. A once-dormant mine mysteriously begins to yield gold, bringing out the worst characteristics of several people involved. When murder enters the picture, Charlie Chan interrupts his vacation and investigates, with the dubious aid of his son Tommy (Victor Sen Yung) and his perennially frightened chauffeur Birmingham Brown (Mantan Moreland). The script for this film lifts many elements from several earlier sources, including the "high-heeled nun" bit from Hitchcock's The Lady Vanishes (38). The fourth Monogram "Charlie Chan" film to star Roland Winters as the soft-spoken Chinese sleuth, The Golden Eye is salvaged by the effortless expertise of comic relief Mantan Moreland. ~ Hal Erickson, Rovi

For his first independent production, former child star Roddy McDowall selected the tried-and-true Robert Louis Stevenson classic Kidnapped. McDowall reserves the plum role of David Balfour for himself, while Dan O'Herlihy, McDowall's costar in Orson Welles' MacBeth, is cast as Scottish patriot Alan Breck. The story is the familiar one about a young man (McDowall) cheated out of his birthright by his wicked, covetous uncle (Houseley Stevenson). Kidnapped and sold into slavery, Balfour escapes and makes his way back to Scotland, where he befriends the swashbuckling Breck and the lovely Aileen (Sue England). Several exciting adventures later, Balfour returns to his ancestral home to settle accounts with his uncle. Laid low by threadbare production values, Kidnapped is one of lesser screen adaptations of Robert Louis Stevenson's novel, though at least it's more faithful to the source than the 1938 20th Century-Fox version. ~ Hal Erickson, Rovi

The romantic, dangerous and fast-paced world of professional midget auto racing provides the backdrop for this dramatic tale of a young driver who decides to follow in his late father's footsteps and win the big race. Johnny Randall is aware of the risks. His father died in a fireball during a race. Still he wants to win and so enlists the aid of Breezy Bradley, an experienced mechanic to help him restore his father's ruined racer. He also finds time to fall in love with Breezy's beautiful daughter. ~ Sandra Brennan, Rovi

In this police drama, a busy precinct is thrown into chaos when the murdered corpse of a local detective is found in an abandoned car. Now the press is demanding to learn details. Meanwhile, an ambitious officer finds himself sorely tempted to use dishonest means to advance his political career. Things get even more muddled up when he falls in love with a female murder suspect. ~ Sandra Brennan, Rovi

Laurel & Hardy's last American film is a marked improvement over their previous 20th Century-Fox features, though still not in the same league as their 1930s classics. Stan and Ollie play a couple of detectives from Peoria, Illinois, who fly to Mexico City to arrest the notorious Larceny Nell (Carol Andrews). Their South-of-the-Border visit coincides with the much-anticipated arrival of famed Spanish bullfighter Don Sebastian-who happens to be the exact double of Stan Laurel! When Don Sebastian's Mexican debut is delayed by passport problems, press agent Hotshot Coleman (Richard Lane) persuades Stan to take the toreador's place in the bullring. Stan is understandably reluctant until Hotshot threatens to turn the boys over to his business partner, sports promoter Richard K. Muldoon (Ralph Sanford). It seems that several years earlier, Stan and Ollie wrongly sent Muldoon to prison; upon his release, he vowed to someday catch up with the boys and literally skin them alive ("First the little one, then the big one!") With this threat hanging over their heads, Laurel & Hardy are forced to acquiesce to Hotshot's scheme-leading to a chaotic nightclub incident, a hectic misadventure at a bull farm, and a climactic riot at the bull arena when the real Don Sebastian finally shows up. Though it falls apart in the final reel thanks to an overabundance of mismatched stock footage gleaned from Blood and Sand (1941), The Bullfighters is for the most part a fond throwback to Laurel & Hardy's glory days: the highlight is an egg-breaking routine revived from 1934's Hollywood Party. Curiously, none of the reviewers in 1945 mentioned the film's grotesquely hilarious closing gag, which must be seen to be believed. Rory Calhoun (billed as Frank McCown) shows up in a bit as a rival bullfighter. ~ Hal Erickson, Rovi

On the eve of her wedding to Ramu (Jon Hall), the beautiful Tollea (Maria Montez) is spirited away from her tranquil South Sea island to the mysterious, forbidden place of her birth, Cobra Island. Ramu follows and, with help from his young-but-not-too-bright friend Kado (Sabu) and their chimp Coco, manages to land on the island and avoid capture, which would mean death. It turns out that Tollea is the rightful high priestess of Cobra Island, the first born of two twin daughters of the earlier priestess. Tollea was not immune to the venom of the king cobra, however, so she was spirited away from the island as an infant to avoid her unnecessary death. Now her grandmother, the Queen (Mary Nash), has secured her return. Tollea's twin sister, Naja (also played by Montez), has turned cruel, greedy, and ambitious, and is killing, torturing, and tormenting her people and perverting their religion; Naja must be deposed, hopefully before the volcano on the far side of the island registers too loud an objection to her blasphemies. But Naja -- who is wanton enough to want Ramu for her own pleasure -- and her confederate, the evil, ambitious Martok (Edgar Barrier), don't plan on leaving quietly.

Meanwhile, Ramu has to keep himself and Kado alive and decide if he's willing to give up the woman that he loves so that she can save her people; Tollea must choose between love and duty, fate and her birthright. One of the most ridiculously and unselfconsciously campy costume adventure movies of its era, Cobra Woman was apparently a lot of fun to work on and a relief from the reality of the Second World War for audiences in 1944. The script, co-authored by Richard Brooks a long time before he wrote The Brick Foxhole, much less directed Blackboard Jungle or made In Cold Blood or Lord Jim, is incredibly sloppy, the mix of harem dancers and ridiculous prop snakes is bizarre, and some of the worst choreography of its era doesn't help -- and yet it all hangs together, somehow, as entertainment. Director Robert Siodmak reportedly liked it, and as a refugee from the Nazis, working on it still beat the fate he'd fled in Germany. The movie is also alleged to be the primary inspiration for Jack Smith's Flaming Creatures -- which starred female impersonator Mario Montez -- and looking at it in the 21st century, one wonders if it was ever seen by Edward D. Wood Jr.; not only does the production sort of anticipate (albeit on a much higher level and budget) his work in the adventure genre, but the script seems to contain the essence of inept moments that he would elevate to an art of sorts. And one can just imagine Wood, as a young marine recruit, watching Cobra Woman eagerly and "learning" all the wrong lessons from its writing and production. But, like the best of Wood's movies -- only more so -- Cobra Woman is still great fun of the "guilty pleasure" sort. ~ Bruce Eder, Rovi