Otto Hoffman Movies

In this newspaper farce, an editor loses his voice and his job after he tires of being tormented by the practical jokes of one of two reporters. The joker ends up the new editor. Soon after taking the job, his personality changes dramatically and soon he has become a pompous and excessively harsh taskmaster. His former partner is so disgusted that she decides to leave and marry a stodgy writer of inspirational books. The new editor loves his partner and tries to get her back. When he fails, he begins drinking heavily and wondering what kind of wedding gift he should get her. Knowing that she likes the excitement of police and fire calls, he insures that her wedding will be unforgettable by having fire engines, police cars, and hearses show up to the nuptials. In the end, the editor drives a wagon from the local loony bin into the ceremony and kidnaps her. Romance ensues and eventually the two are married. ~ Sandra Brennan, All Movie Guide

"Every time Paul Muni parts his beard and looks through a microscope, we lose a million dollars." Producer Jack Warner's lament concerning Muni's historical dramas is cute enough, but hardly backed up by facts; the economically produced The Story of Louis Pasteur proved to be a surprise hit for the Brothers Warner. The Sheridan Gibney-Pierre Collings screenplay concentrates on Pasteur's tireless efforts to find a cure for anthrax and hydrophobia. The famed French scientist is continually challenged and thwarted by his principal rival, hidebound bacteriologist Dr. Charbonnet (Fritz Leiber). The film's climax, involving a desperate Pasteur, the immovable Charbonnet, Pasteur's ailing daughter (Anita Louise), and a hydrophobia-infected youngster (Dickie Moore), is straight out of the Curfew Shall Not Ring Tonight school of melodrama. Within the film's context, however, this contrivance works magnificently. Virtually thrown away by Warners upon its first release, The Story of Louis Pasteur was finally awarded class-A treatment when the picture proved to be favorite with audiences and critics alike; Paul Muni's Academy Award win was the mere icing on the cake. The film's success led to Warners' decision to go ahead with 1937's The Life of Emile Zola, also starring Muni. This time, the studio copped its first Best Picture Oscar. ~ Hal Erickson, All Movie Guide

A wealthy young heir rebels when his snooty parents refuse to allow him to marry a lovely young secretary. Deciding to teach them a lesson, he goes West where he falls in love and marries the daughter of a Native American chief. He brings her home to meet his parents, who are naturally appalled, and vengeance is his. Unfortunately their marital bliss is disturbed when a woman shoots her married lover and the Indian girl is blamed for the crime. The husband then goes to the police and confesses the crime to protect her. Fortunately, the astute police put the couple together in a room bugged with a concealed microphone. They then learn that both are innocent. ~ Sandra Brennan, All Movie Guide

Socialite Pat Reynolds (Ida Lupino) is forced to become the "smart girl" of the title when her wealthy father commits suicide, leaving nothing but a pile of debts. Pat sets up a successful hat-designing business, providing the sole support for herself and her sister Kay (Gail Patrick). So devoted is Pat to Kay's welfare that she stands by in stoic silence as Kay begins romancing Pat's sweetie Nick Graham (Kent Taylor). But a quick glance at the billing order of the stars should be indication enough as to which sister ends up with Nick at the fade-out. Comedy relief is provided in ample doses by old-timer Joseph Cawthorn and bespectacled crooner Pinky Tomlin, cast as father-and-son haberdashers. ~ Hal Erickson, All Movie Guide

Filmed on location at Big Bear and Wrightwood, CA, this Tim McCoy series entry from Columbia moved the stalwart hero from the range to the Pacific Northwest and gave him a handsome young co-star in Robert Allen, a former singer. McCoy played Tim O'Hara, a member of the Royal Canadian Mounted Police assigned to investigate an illegal fur trading racket. A former friend of Tim's, Brad Harrison (Ward Bond), gets in the way of things, and the mountie is at one point falsely accused of killing Randall (Bud Osborne). But Randall was one of gang leader Stalkey's (Otto Hoffman) henchmen assigned to murder Tim. Bob Rutledge (Allen) arrives from mountie headquarters with orders to arrest his colleague but Brad comes through in the end and clears Tim of all charges. Columbia producer Irving Briskin was rather obviously grooming handsome Robert Allen to take over from the aging McCoy but then changed his mind and Allen was instead re-assigned as leading man for coloratura Grace Moore (Love Me Forever, 1935). Allen did eventually get his own B-Western series, six Texas Rangers films from 1936 to 1937. ~ Hans J. Wollstein, All Movie Guide

The Earl Carroll Vanities, a popular Broadway revue of the 1930s and '40s, is the setting for this murder mystery interspersed with an assortment of variety acts, including Duke Ellington performing "Ebony Rhapsody" and a novelty number called "Marijuana." Victor McLaglen stars as Bill Murdock, a detective investigating a series of murders during the opening night of a new edition of the Vanities. When private detective Sadie Evans (Gail Patrick) is found murdered, Murdock must investigate between musical numbers to find the killer. When Rita Rose (Gertrude Michael) next turns up dead, Murdock concludes young ingenue Ann Ware (Kitty Carlisle) is the next person marked for death. Murdock has to find the murderer before the ending of the show or else he or she could disappear in the departing crowd of theatergoers. ~ Paul Brenner, All Movie Guide

Brooklyn tugboat worker Eddie (Eddie Cantor), bullied and cowed by his tough-guy stepfather and stepbrothers (a la Harold Lloyd's The Kid Brother), inherits $77 million from his uncle, an Egyptologist. Con artist Dot (Ethel Merman) wants to get her lunchhooks on the money, and to this end offers herself as Eddie's adopted mother (never mind that she's nearly 20 years younger), intending to have her thuggish brother Louie (Warren Hymer) bump off our hero at the first opportunity. The nonsensical plotline ends up with Eddie, Dot, Louie, pompous Southern colonel Larrabee (Berton Churchill), and nominal romantic leads Jerry (George Murphy in his film debut) and Jane (Ann Sothern) trapped in the palace of Arab potentate Mulhulla (Paul Harvey). The better-than-average comic banter includes some funny bits between Cantor and Eve Sully, of the comedy team of "Block and Sully" (her husband-partner Jesse Block is also in the picture, but just barely). Spotted among the featured players in Kid Millions are such "Our Gang" members as Stymie Beard, Scotty Beckett and Tommy Bond, and there's a specialty by the Nicholas Brothers during Cantor's obligatory "blackface" number; and yes, that's Lucille Ball as a blonde Goldwyn Girl in the harem sequence. PS: According to Ethel Merman, the film's elaborate Technicolor ice-cream factory finale, in which Eddie allows dozens of tenement kids to gorge themselves on his tasty confections, posed censorship problems: while producer Sam Goldwyn was allowed to show the little boys with comically extended stomachs, he was not permitted to do so with the little girls, for fear that the audience might think the female moppets were pregnant! ~ Hal Erickson, All Movie Guide

In this romance, an ambitious young career woman is slated to marry a wealth man until she gets into a fender-bender and meets a poor fellow with whom she falls instantly in love. She soon jilts her fiance in favor of him. She later discovers that her new love is the errant son of a wealthy family who eventually welcome him and his new bride back into the fold. Happiness ensues. ~ Sandra Brennan, All Movie Guide

Anyone who believes that the career of silent screen idol John Gilbert ended because his voice has too high for the talkies hasn't seen this marvelously black comedy. In perhaps his best performance of the sound era (with his supporting role in 1934's The Captain Hates the Sea running a close second), Gilbert plays a rogue who can get away with just about anything because of his charisma and charm -- and his voice suits his character perfectly. Karl (Gilbert) is a chauffeur who goes to work for a Viennese Baron and Baroness (Reginald Owen) and Olga Baclanova) on the day that two of their servants -- head butler Albert (Paul Lukas) and maid Anna (an astonishingly lovely Virginia Bruce) -- are being wed. Almost immediately Karl creates havoc in the household -- he flirts with the innocent, susceptible Anna, blackmails the Baroness, who is having an affair, and seduces the middle-aged head cook, Sophie (Bodil Rosing), only so he can get his hands on her life savings. In spite of his wickedness, there is something magnetic about Karl, and Anna -- who is vaguely dissatisfied with her loving but dogmatic husband -- finally succumbs. But all of his schemes inevitably backfire on him and after Albert gets Sophie's money back, he gladly tosses Karl out of the Baron's mansion. The next we see of him, he is c harming his way into yet another chauffeur position (hinting at a potential sequel that, unfortunately, never came). Gilbert, who wrote the story four years earlier, originally had an appropriately macabre ending -- after a brutal fight, Albert drowns Karl in a vat of wine. When he first came up with the idea, Gilbert had wanted Erich Von Stroheim to direct. By 1932, this was out of the question (MGM mogul Louis B. Mayer had little use for Stroheim). Instead, the highly capable Monta Bell was given the job -sadly, it was one his last directing assignments. During the shoot, Gilbert and Virginia Bruce fell in love and they were married in August, 1932, the month that the film was released. ~ Janiss Garza, All Movie Guide

One of The Duke's earlier efforts, this John Wayne vehicle sees our hero using his wits against not only gold hunters, but also the evil specters that haunt the land's treasures. A labyrinth of underground paths provides the backdrop for many of the action scenes. ~ Michael Hastings, All Movie Guide

In his first Western for 1932, Buck Jones went mostly for laughs playing a former Texas ranger inheriting an Arizona ranch together with an uppity girl (Lina Basquette). The will stipulates that neither may sell without the other's consent but Lina is inclined to take an offer from smooth-talking Easterner Alan Roscoe. Jones, however, refuses to sell and the stage is set for a battle of the sexes. But there is silver in them there hills, which the Easterner has known all along. Tired of waiting for a mutual decision, Roscoe and his chief henchman, Wallace MacDonald, kidnap the girl but she is saved in the nick of time by Jones. Have the former combatants fallen in love along the way? Why, of course they have. Lina Basquette married the third of her nine husbands on the set of this film and Jones threw her a party that by all accounts was more entertaining than the film itself. ~ Hans J. Wollstein, All Movie Guide

The delightful Winnie Lightner was afforded her own movie vehicle in Side Show. Lightner stars as Pat, one of several members of a traveling carnival troupe managed by the eternally besotted Colonel Gowdy (Guy Kibbee). A Jill-of-all-trades, Pat does everything from high-diving to hula dancing, with time left over for a romance with meek-and-mild Sidney (Charles Butterworth), a man incapable of uttering an intelligent remark. There are moments of melodrama and pathos -- especially when Pat tries to save her younger sister, Irene (Evelyn Knapp), from a lecherous carny barker -- but comedy predominates throughout, culminating in a slapstick big-top finale. Unseen for many years, Side Show was resuscitated in the early '90s by the Turner Classic Movies cable service. ~ Hal Erickson, All Movie Guide