Edward Hearn Movies

Columbia general purpose actor Bob Allen was briefly transformed into a cowboy for the studio's "B" unit in the mid-1930s. Allen stars in Unknown Ranger as a ranch ranger on the trail of rustlers. The gang has rounded up a wild stallion, in order to lure a prize horse away from a wealthy rancher. Bob tames the stallion and bushwhacks the baddies. Bob Allen didn't catch on with the fans, principally because he seemed out of place in the Great Outdoors; Allen would fare better when he left movies for the Broadway stage. ~ Hal Erickson, All Movie Guide

The MGM historical "spectacular" San Francisco was allegedly based on a three-sentence synopsis, submitted verbally to producer B.F. Zeidman by studio troubleshooter Bob Hopkins. The story begins on the Barbary Coast on New Year's Eve, 1906, as rakish but likeable political boss Blackie Norton (Clark Gable) hires demure young singer Mary Blake (Jeanette MacDonald) to perform at his rowdy Paradise gambling house. Local priest Father Mullin (Spencer Tracy), Blackie's best friend, disapproves of the exploitation of the lovely Mary, feeling that she's suited for classier surroundings. Jack Hurley (Jack Holt), Nob Hill socialite and Blackie's political rival, agrees with Father Mullin and offers the girl the opportunity to sing with the San Francisco Opera. Blackie, who's fallen in love with Mary but won't admit it to himself, jealously holds on to her contract, forcing Mary to walk out on him. For the rest of the film, Mary is torn between the "respectable" lifestyle offered her by Hurley and the baser creature comforts provided by Blackie. It looks for a while that Hurley has won out, but fate takes a hand in the form of the devastating San Francisco Earthquake of April 18, 1906 (a special effects tour de force for art directors Arnold Gillespie and his uncredited associate James Basevi). Hurley is killed in the holocaust, while Blackie, desperately searching for Mary in the rubble, at long last finds religion and prays to God for his sweetheart's salvation. At the end, an unidentified bit player shouts defiantly "We'll build a new San Francisco!" -- and by golly, they do! The Hollywood censors were not so much bothered by the sexual subtext of San Francisco or its harrowing earthquake finale as they were by a scene in which Father Mullin is knocked down by an unrepentant Blackie. To "purify" this potentially blasphemous sequence, screenwriter Anita Loos quickly added an earlier scene in which Mullin and Blackie, both dressed in turtleneck sweaters, genially duke it out at an exercise gym, whereupon the priest cold-cocks Blackie with the greatest of ease. By establishing that Mullin could have punched out Blackie, but chooses not to in the controversial later scene, not only allows that scene to pass, but also strengthened the priest's character. San Francisco proved to be one of MGM's biggest hits, remaining in almost constant reissue for the next three decades. ~ Hal Erickson, All Movie Guide

Battling Hoofer is the reissue title of the 1936 James Cagney vehicle Something to Sing About. Cagney plays Terry Rooney, a New York bandleader who heads to Hollywood when he is offered a movie contract. The down-to-Earth Rooney resists the "star treatment," an attitude misinterpreted by movie executive Bennett O. Regan (Gene Lockhart) as arrogance. When Terry's first film is a hit, Regan orders everyone involved to keep its success a secret from Terry, lest he develop a swelled head! (We don't believe it either.) The best sequence has Rooney chewing out his Asian houseboy, Ito (Philip Ahn), whereupon he drops his "So solly" pidgin English and begins talking like a Harvard professor! Terry gets to romance newcomer Evelyn Daw, as well as veteran vamp Mona Barrie; he also gets to participate in several lively dance numbers. Something to Sing About was the second of Jimmy Cagney's films for Poverty Row studio Grand National: the production values and snappy script work that he might have enjoyed at Warner Bros. are noticeably lacking, but Cagney is always fun to watch. ~ Hal Erickson, All Movie Guide

Based on a Damon Runyon story, Three Wise Guys stars Betty Furness as a Broadway golddigger hired by gangster Bruce Cabot to romance playboy Robert Young, then take the sap for every penny he's got. But when Young marries Furness, he is disinherited. Furness decides she's truly in love with Young and leaves town with him. Pursued by Cabot and his henchmen, the couple takes refuge in a deserted farm. Cabot is about to exact vengeance on Furness when he discovers that she's pregnant, and due at any minute. Thus the chastened Cabot and his "wise guy" companions aid Furness in bringing her baby into the world. That's right, it's Christmas...and it's also in a little town called Bethlehem. ~ Hal Erickson, All Movie Guide

It is a tale known well, filmed many times over the years, but never better than this early black and white version from the MGM Studios, David O. Selznick producing. "It was the best of times, it was the worst of times"-- Charles Dickens juxtaposes England and France, George and Louis, tradition and revolution. One of the most beloved of Dickens' stories, finding not only countries and conditions compared, but also two individuals thrown up in stark contrast to one another: -- the dissolute barrister Sydney Carton (Ronald Colman) and the young, somewhat callow aristocrat Charles Darnay (Donald Woods), both in love with Lucie (Elizabeth Allan), daughter of a victim of the French Regime. Their lives intertwine until the violent revolution that overtook an entire nation engulfs them all as well.

Dickens' story has stood the test of time; remade frequently since the release of this1935 version. It is this version by director Jack Conway's that is best remembered and to which all others are compared. The settings, cinematography, and direction are all right on the mark, recreating the streets of London and of Paris with great skill and realism. The supporting cast, filled with faces we have grown to cherish-- Reginald Owen, Edna May Oliver, Claude Gillingwater, Walter Catlett, H. B. Warner, Basil Rathbone, and E. E. Clive-comes through with crystalline performances which add substance to the inexorable stream of events. Blanche Yurka's bravura turn as Therese de Farge delights us even as we shudder at her intensity. Second unit directors Jacques Tourneur and Val Lewton, who would both go on to memorable careers as leading directors in their own right, staged the storming of the Bastille and other "revolutionary" scenes brilliantly, managing to combine fervor with panache. It is, however, Colman's portrayal of the lonely man redeemed by love and sacrifice which stands at the center of the story.

Sydney Carton first saves Charles Darnay from a charge of treason, thereby meeting those who care for him: the beautiful Lucie Manette, her father, Doctor Manette (Henry B. Walthall), released from the Bastille after many years of unjust incarceration; Lucie's servant Miss Pross, (Oliver) and Mister Lorry (Claude Gillingwater), an functionary of Tellson's Bank. His relationship with this circle of kind friends grows rocky when Darnay marries Lucie, whom Carton has loved from afar, but even this turn of events cannot change his feelings for them all and he grows to love them even more when daughter Lucie comes along. He reforms, leaving old ways behind and enjoying a familial warmth he has never known. This happy life is shattered when Darnay returns to France during the first revolutionary struggles, intent on saving his old tutor from the guillotine. He soon finds himself behind bars and facing the blade instead. The Revolution does not forget an aristocrat, even one who has recanted and lived life abroad as a commoner. The whole family makes the channel crossing to come to the young man's aid and Carton seeks a way to save him, discovering only one path to free Darnay and return everyone to safety. It is a sacrifice easily promised and quickly made.

Ronald Colman had long wanted to make a film of this story and, when he finally got his chance, he happily shaved off his signature mustache in an appropriate gesture to historical realism. Reviews of his work indicate his portrayal of Sydney Carton surpassed all his previous endeavors; he had been accused of walking through light parts, once he started making "talkies," and not putting his many talents to good use. "A Tale of Two Cities" put rest to those complaints. He dominates completely the scenes he which he does appear, and his skill gives substance to a literary achievement, a melancholy man of intelligence and wit, given to drink and despair, whose life seems to attain meaning only when it is given up for someone else. It is one of the portrayals for which Ronald Colman has come to be remembered.

There are various remake versions of A Tale of Two Cities. Dirk Bogarde played Carton in 1958 and Chris Sarandon starred in a television remake in 1980. While these and other versions have all been good films, none has achieved the stature of the 1935 version and its excellent combination of star power, technical brilliance and great storytelling. ~ All Movie Guide

Gene Autry's first starring Western, Tumbling Tumbleweeds sets the pace for the 98 or so Autry oaters to come. As he would for the remainder of his screen career with only one exception, Gene plays Gene Autry, cowboy troubadour, who, upon his return west with musical friends Smiley (Smiley Burnette) and Eightball (Eugene Jackson), not only learns that his father has been murdered but that his childhood friend, Harry Brooks (Cornelius Keefe), is the most likely suspect. Naturally, Harry proves innocent while the real culprit is once again to be found among the town's more notable citizens. Gene, Burnette, and the Sons of the Pioneers (one of whom is the screen debuting Leonard Slye, soon to become Roy Rogers) perform Bob Nolan's title tune, along with "That Silver-Haired Daddy of Mine," by Gene Autry and Jimmy Long; "Ridin' Down the Canyon," by Autry and Smiley Burnette; and "Corn Fed and Rusty," by Burnette. ~ Hans J. Wollstein, All Movie Guide

Harold Lloyd plays Ezekial Cobb, a missionary's son who has spent his entire life in China. Cobb is sent to his father's home church in California, where it is hoped he will find a wife. A true babe in the woods, Cobb is befriended by politician Jake Mayo (George Barbier). Mayo is a cog in a crooked political machine whose bosses plan to set up a "reform" candidate for mayor, so that they can continue their underhanded activities unmolested. The candidate drops dead, so Mayo sets up the innocent Cobb as the mayor-to-be--a "cat's paw" to deflect attention from the system's corruption. But once elected, Cobb takes his duties quite seriously and begins to clean up the town. The machine frames Cobb with planted evidence of wrongdoing, destroying the lad's political career. Undaunted, Cobb remembers the story of an ancient Chinese leader, who, similarly disgraced, took the law in his own hands and executed all known criminals in his last days of power. Cobb orders that every crook in town be rounded up and brought to a dark cellar. He insists that they confess their crimes or face instant death--and backs up his words by "beheading" two of the crooks on the spot! Actually, these executions are cleverly designed magical illusions, and no one is really killed; but the terrified criminals are so hoodwinked by Cobb's apparent cold-bloodedness that they literally climb over one another to confess. Cobb is exonerated, and honesty is restored to his administration. While not Harold Lloyd's best feature film, The Cat's Paw is definitely his most unorthodox. ~ Hal Erickson, All Movie Guide

Written and directed by the prolific Oliver Drake, this low-budget Western starred Lane Chandler as a Texas Ranger battling a gang of cattle rustlers. The rustlers have hired Wolf Cassidy (Mike Brand), a notorious city mobster who is captured by the rangers before he reaches his location. Tex Robbins (Chandler) manages to infiltrate the gang by impersonating the imprisoned gangster but his identity is revealed when he falls in love with rancher daughter Ruth O'Bryne (Doris Hill). Texas Tornado was one in a series of eight Chandler oaters produced on the cheap by Willis Kent, a typical low-budget operator perhaps best remembered for such exploitation melodramas as The Road to Ruin (1928 and 1934) and The Wages of Sin (1938). ~ Hans J. Wollstein, All Movie Guide

In the first of two proposed serials for Mascot Pictures, Western hero Ken Maynard goes up against a murderous fiend known as "the Rattler." Wearing a strange disguise consisting of eye glasses, a fake nose, and crepe-hair mustache, the Rattler, aka "the Menace of the Mountain," attempts to control the mountain -- and its hidden gold -- from a secret cave filled with strange electronic gadgets. Maynard is Ken Williams, a young cowboy coming to the aid of Jane Corwin (Verna Hillie), whose railroad worker father (Lafe McKee) was the Rattler's first victim. Just as in a previous Mascot serial, The Hurricane Express (1932), the masked villain of Mystery Mountain uses a seemingly endless supply of rubber masks that enables him to perform his skullduggery disguised as almost every member of the cast. He is finally brought to ground in chapter 12, "The Judgment of Tarzan" ("Tarzan" being Maynard's faithful steed), and is revealed to be supposedly solid citizen Edward Earle. The denouement, of course, was a typical Mascot "cheat," the masked villain having up to that point been played by Edmund Cobb. Maynard, whom Mascot producer Nat Levine had gotten on the cheap at 10,000 dollars a week, proved almost not worth the trouble he created. The difficult star demanded that the serial be filmed at his old stomping grounds, Universal City, and kept changing the script and direction to suit himself. Although Mystery Mountain proved the most successful Mascot serial up to that time, Levine had had enough of the obstinate Maynard and replaced him with newcomer Gene Autry in The Phantom Empire (1935). ~ Hans J. Wollstein, All Movie Guide

Having starred in two earlier Westerns produced by Harry S. Webb, Tom Tyler signed with Webb's new company Reliable, where the former silent star went on to make 18 inexpensive but well-made oaters. The first in the series, Fighting Hero, cast Tyler as Tom Hall, a fugitive from justice rescuing a young Mexican woman, Conchita (Renee Borden), from a murder conviction. He falls in love with the girl, but he then overhears her apparently plotting with the leader of a gang of stage-robbers. As it turns out, Conchita is only looking out for Tom's welfare, and with her help he is soon able to apprehend the gang. When the sheriff (Tom London) arrives, Tom reveals himself to be an undercover agent for the Wells Fargo Company. ~ Hans J. Wollstein, All Movie Guide

Having recently left Universal Pictures in a huff, mercurial cowboy star Ken Maynard stopped briefly at Mascot Studios for a brace of films. The first was In Old Santa Fe, a modern story set at a dude ranch where Maynard (playing himself) is employed. The villain is dude sharpshooter Chandler (Kenneth Thomson), who makes a play for Maynard's sweetheart Lila Miller (Evelyn Knapp). Before our hero is permitted to triumph, the film makes a side trip to a western nightclub, wherein a couple of radio crooners named Gene Autry and Smiley Burnette make their joint film debuts. Less than a year later, Autry would replace a recalcitrant Ken Maynard in the Mascot serial Phantom Empire -- and the rest, as they say, is history. ~ Hal Erickson, All Movie Guide

Heroes and villains alike use airplanes instead of horses in this generally well-made Mascot serial featuring diminutive cowboy star Bob Steele. Steele and sidekick Guinn "Big Boy" Williams (whose supposedly comical craving for jellybeans quickly becomes tiring) are hired by an aviator friend (Jack Mulhall) to aid Lafe McKee and his daughter Lucille Browne in safeguarding the building of a dam. A mystery villain known only as "The Black Ace" is using a gang of air pirates in a (largely unexplained) war against the construction firm. The mystery villain proves, of course, to be the one character seemingly above suspicion. In fairness to the serial, we shall refrain from divulging his identity, however. Mystery Squadron contains many well-made aerial fights and stunts but is also filled with all kinds of silly and seemingly unnecessary gaffes. When a dart carrying a warning note is thrown through a window, for example, that same window is shown in the following shot as not only securely closed but covered by an undamaged lace curtain. ~ Hans J. Wollstein, All Movie Guide