Fay Helm Movies

In this melodrama, a self-absorbed mother unwittingly teaches her daughter some terrible habits. From her, the girl learns that she should simply take everything she wants without considering the consequences of her actions. Her conniving tactics make her rich, but unlucky in love. Fortunately, her second husband teaches her some important life lessons and the girl changes her ways. ~ Sandra Brennan, All Movie Guide

Setting something of a record for flashbacks within flashbacks, The Locket recounts the mental disintegration of bride-to-be Laraine Day. As a child, Day was accused of stealing a locket at a fancy party. She has spent her life getting even for this false accusation by becoming a kleptomaniac and ruining the lives of those around her. She drives one man (Robert Mitchum) to suicide, and stands by as another man is executed for a murder which she has committed. Assuming her revenge on the world is complete when she becomes engaged to the son of the woman who'd accused her of thievery, Day is overtaken by the demons within her and collapses on the altar. The Locket is difficult to follow at times, especially when seen in commercialized chunks on the Late Late Show. ~ Hal Erickson, All Movie Guide

One of the most successful filmed biographies of the 1940s, A Song to Remember alleges to be the true story of Polish composer Frederick Chopin. Actually, it has about as much relation to truth as a Heckle and Jeckle cartoon, but with such gorgeous creatures as Cornel Wilde and Merle Oberon in the leads, who cared? Though Wilde, as Chopin, is the nominal lead, top billing goes to Paul Muni, hamming his way through the role of Chopin's mentor Professor Joseph Elsner. Reportedly, Muni developed his characterization long before shooting started, refusing to allow the performances of the other actors to alter his interpretation in the slightest. This may explain why Muni seems to be acting in a vacuum, frequently completely out of rhythm with the film and its characters. Otherwise, Cornel Wilde does a nice job as the tempestuous Chopin, whose patriotic fervency frequently takes priority over his music. Merle Oberon plays novelist George Sand, who despite her preference for male clothing proves to be "all woman" during her torrid, decade-long affair with Chopin. The film's money scene--the one that everyone talked about, keeping the picture "alive" long after its original release--occurs towards the end, when the tubercular Chopin begins hemorrhaging as he performs his Polonaise for the first time (Jose Iturbi is heard on the soundtrack, "doubling" for Wilde's ivory-tickling). Sumptuously photographed in Technicolor by Tony Gaudio and Allen M. Davey, A Song to Remember was the usually penurious Columbia Pictures' top production of 1945. Fifteen years later, the studio hoped to make lightning strike twice with its Franz Liszt biopic Song Without End, but the magic just wasn't there. ~ Hal Erickson, All Movie Guide

A New-York-bound hitchhiker is hit by a car. The driver, a successful art dealer, stops and finds that he has hit a beautiful girl. He takes her to his home and later learns that she was to be a dancer. As she recovers she cannot help but notice that her benefactor and his stepdaughter both seem a little touched. The suspense comes in when she figures out that the greedy dealer is planning to kill all his female relatives in order to receive a large inheritance. ~ Sandra Brennan, All Movie Guide

Engineer Scott Henderson (Alan Curtis) is at a seedy midtown Manhattan bar early one evening, drowning his sorrows over a failed marriage, when he strikes up a conversation with a woman (Fay Helm). She's well dressed, with a very ornate hat topping off her ensemble, and also seems even sadder and more lost than he is. Henderson persuades her to join him in taking advantage of the two theater tickets he has. They attend the show -- a song-and-dance showcase by a Brazilian artist (Aurora) -- and then part company without ever exchanging names. He returns home to find three detectives in his apartment and his wife strangled. Inspector Burgess (Thomas Gomez) questions Henderson and tries to verify his alibi, but no one -- not the bartender, the cabbie who hauled them to the theater, or the drummer in the band who was watching her -- admits to remembering the woman. Henderson can't prove that he was elsewhere when his wife was strangled and is convicted of murder and sentenced to death. His assistant, Carol Richman (Ella Raines), who has watched all of this happen, can't sit by while Scott is destroyed, and decides to get at the truth, joined by Inspector Burgess, who now believes Henderson to be innocent. Carol hounds the bartender (Andrew Tombes) until he seems ready to crack, but before he talks, he tries to get away from her and dies in an accident. The drummer, Cliff Milburn (Elisha Cook Jr.), proves more talkative and reveals that someone paid him 500 dollars to forget about the woman, but before Burgess can question him, he's strangled. It seems as though there's no hope left, even with the added help of Jack Marlow (Franchot Tone), Scott's best friend, newly returned from Brazil, when Carol gets a line on the unusual hat the woman was wearing. She traces the hat to its owner in a mansion on Long Island, where she is recovering from a breakdown over the death of her fiancé -- that was her trouble on the night she crossed paths with Scott Henderson. It is only on returning to New York, while awaiting Burgess' arrival, that she realizes that Jack Marlow is the murderer -- that he returned after having dinner with them, following their fight, and strangled Henderson's wife; paid off the bartender, the cab driver, and Cliff Milburn to keep them from revealing the existence of the woman that Scott was with; and killed Milburn to prevent him from talking; and he plans to kill Carol before she can talk to Burgess. ~ Bruce Eder, All Movie Guide

Freely adapted from a successful Broadway musical by Moss Hart, this story stars Ginger Rogers as Liza Elliott, the editor of a popular fashion magazine. Despite her beauty, wealth, and success in business, Liza is unhappy and out of sorts. And while three men are vying for her affections -- advertising director Charley Johnson (Ray Milland), newly single Kendall Nesbitt (Warner Baxter), and youthful and handsome Randy Curtis (Jon Hall) -- Liza has been unlucky in love, and she feels that she's come to the end of her emotional rope. She begins seeing Dr. Brooks (Barry Sullivan) in hopes of resolving her emotional crises and finding happiness, and her self-searching explorations of her past take the form of a handful of musical numbers. While the stage version of Lady in the Dark featured songs written by the estimable team of Kurt Weill and Ira Gershwin, several of them were replaced for this screen adaptation; "The Saga of Jenny", "One Life to Love", and "Girl of the Moment" were the most notable among the Weill/Gershwin tunes that survived the editing process. ~ Mark Deming, All Movie Guide

In this first of Universal's "Inner Sanctum" mysteries, Lon Chaney Jr. plays a neurologist plagued by a faithless wife. He suffers a bout of insanity, blacks out, and loses all track of time. Upon returning to his home, he discovers that his wife has been murdered. Investigating detective J. Carroll Naish is certain that Chaney is the murderer, and tries to browbeat the suspect into a confession. Chaney himself is half-convinced that he is guilty, and in conducting his own investigation learns the truth. All we can say without spoiling the film is that the truth hurts. ~ Hal Erickson, All Movie Guide

Honeymoon Lodge is a musical variation on the old Awful Truth plotline. Divorce-bound Bob and Carol Sterling (David Bruce, June Vincent) make a last-ditch attempt to avoid their legal breakup by restaging their mountain-resort honeymoon. Things get complicated when a rancher named Big Boy (Rod Cameron, in a Ralph Bellamy-style "sap" role) shows up at the resort in ardent pursuit of Carol, while Lorraine Logan (Harriet Hilliard) sets her cap for Bob. Though it has more plot than usual for a film of this kind, Honeymoon Lodge is worth seeing only for its musical highlights, including a few delightful numbers teaming Harriet Hilliard with her real-life bandleader husband Ozzie Nelson. ~ Hal Erickson, All Movie Guide

A mad scientist turns a gorilla into a beautiful young woman in this well-made Universal potboiler, the first of three films featuring Paula Dupree, the Ape Woman. John Carradine stars as Dr. Sigmund Walters, whose Crestview Sanitarium witnesses strange and unsettling experiments. The doctor's newest scheme concerns Cheena (Ray "Crash" Corrigan), a female gorilla that he has stolen from the Whipple Circus. Injecting the ape with sex hormones obtained from Dorothy Colman (Martha Vickers), the evil medico attempts to turn the animal into a semi-human creature. When Dr. Walter's longtime nurse, Miss Strand (Fay Helm), objects to this blasphemy, she is summarily murdered and her brain transplanted into the ape woman's skull. The result is named Paula Dupree (Acquanetta), a beautiful but mute creature. At the circus, Paula rescues lion tamer Fred Mason (Milburn Stone) from an attacking animal and a grateful Fred makes her his assistant. The team is highly successful but a lovesick Paula becomes jealous of Fred's girlfriend, Beth Colman (Evelyn Ankers), a condition that turns her into a half-ape, half-woman. Failing to kill Beth, Paula returns to the sanitarium, where Dorothy is being prepared for more experiments. The girl is rescued in the nick of time and an enraged Paula, now completely returned to simian form, kills Walters. Escaping, the ape once again saves Fred's life before being put down by an arriving police officer. ~ Hans J. Wollstein, All Movie Guide

Half Way to Shanghai is Burma, according to this Universal B-grade actioner. The film takes place almost in its entirety on a train bound from Lashio to Rangoon in the days just prior to the Japanese invasion. Passenger Alexander Barton (Kent Taylor) becomes the reluctant hero of the piece when he comes into possession of a map showing Chinese defense sites. When he's not trying to elude Nazi agents Zerta (George Zucco) and Van Simet (Lionel Royce), Barton is dealing as best he can with the film's two heroines, Vicki Nelson (Irene Hervey) and Caroline Wrallins (Charlotte Wynters). Half Way to Shanghai bears traces of the earlier Universal suspenser Bombay Clipper, which took place on a cramped passenger plane. ~ Hal Erickson, All Movie Guide

More than one aficionado of Universal's horror films has cited Night Monster as the weakest of the batch. Part of the complaint lies in the fact that, despite their first and second billing, Bela Lugosi and Lionel Atwill are utterly wasted, with Atwill getting bumped off in the first reel! The nonsensical farrago of a plotline concerns a mysterious night stalker who has been killing off the doctors attending wealthy, crippled Kurt Ingstom (Ralph Morgan). With both of his legs amputated, Ingstom couldn't possibly be the murderer himself-or could he? The explanation to the mystery is as silly as the rest of the picture, but at least Night Monster boasts a rousing climax, one which suggests that no one lives happily ever after. ~ Hal Erickson, All Movie Guide

The Andrews Sisters headline this musical. They play the lead act at a popular nightclub. The trouble begins when they hire a few students from a financially foundering dance school for their newest production. One of the dancers, a rich young socialite, desperately wants to be in it too, but her prurient maiden aunts refuse to allow her to disgrace their family by becoming a common chorine. She and the club owner (who must have the aunt's permission because the girl is underage) try to convince them, but it's not easy. Meanwhile the talented girl finds herself falling hopelessly in love with the club bandleader. In desperation, the ingenious club owner has the obliging Andrews dress up as the aunties and sign the consent forms. The real aunts are infuriated when they discover the ruse and in a tizzy rush down to the club. They arrive just in time to catch the girl's performance and a predictably happy ending ensues. ~ Sandra Brennan, All Movie Guide

"Even a man who is pure at heart/And says his prayers by night/May become a wolf when the wolf-bane blooms/And the moon is full and bright." Upon first hearing these words, Larry Talbot (Lon Chaney) dismisses them as childish folderol. After all, this is the 20th Century; how can a human being turn into a werewolf? Talbot soon learns how when he attempts to rescue Jenny Williams (Fay Helm) from a nocturnal attack by a wolf. Collapsing, Talbot discovers upon reviving that Jenny is dead-and, lying by her side, is not the body of a beast, but of a gypsy named Bela (Bela Lugosi). The son of fortune teller Maleva (Maria Ouspenskaya), Bela was a lycanthrope, or "wolf man." And now that he has been bitten by Bela, Talbot is cursed to suffer the torments of the damned whenever the moon is full. Arguably the best of the "original" Universal horrors (original in the sense that it was not based on an existing literary property, a la Frankenstein, Dracula and The Invisible Man), The Wolf Man boasts one of the most stellar casts ever to grace a "B" picture: Lon Chaney Jr., Claude Rains, Evelyn Ankers, Ralph Bellamy, Warren William, Patric Knowles, Maria Ouspenskaya and Bela Lugosi. The man-to-wolf transformation sequences -- one of which took a full 24 hours to film -- are thoroughly convincing, thanks to the cosmetic genius of Jack P. Pierce (Chaney had wanted to emulate his father by developing his own werewolf makeup, but existing union rules would not permit this). Alas, after this powerhouse opening volley, the Wolf Man character was relegated to a series of cheap sequels, teaming him with other Universal shock stars: Frankenstein Meets the Wolfman (1943), House of Frankenstein (1944) and House of Dracula (1945). The final ignominy was Abbott and Costello Meet Frankenstein (1945), in which Lawrence Talbot (Chaney again), having been cured of lycanthropy in House of Dracula, reverts to his werewolf status -- and has to endure the one-liners of Lou Costello to boot! ~ Hal Erickson, All Movie Guide