Harry Holman Movies

Bank president Thomas Dickson (Walter Huston) has instituted a lending policy that shows great faith in ordinary people but which also irritates his board of directors, as does his claim that an increased money supply will help end the Depression. Elsewhere in the bank, criminal Dude Finlay (Robert Ellis) has coerced head cashier Cluett (Gavin Gordon) into cooperating with a robbery by threatening to reveal Cluett as a habitual gambler. Dickson's neglected wife Phyllis (Kay Johnson), upset that Thomas has forgotten their anniversary, agrees to go out with Cluett, but they're spotted by head teller Matt Brown (Pat O'Brien). Matt goes to Cluett's apartment and convinces Phyllis to leave with him just as the robbery takes place back at the bank. Because he was responsible for locking the vault, Matt is assumed to be in league with the robbers, and he's arrested. News of the robbery leads to frantic depositors demanding their money back from the bank; Dickson cannot talk them out of it, and the bank is running out of money. This gives the board of directors the leverage over Dickson that they've been seeking, and they try to force his resignation. ~ Bill Warren, All Movie Guide

In this is '40s western a U.S. marshal chases a band of big-name bandits into no-man's territory (land outside of U.S. government jurisdiction) as he's trying to locate his little brother. He ends up facing off with none other than the James Boys, the Daltons and other notorious fellows. Badman's Territory proved so successful that the formula was repeated several times by RKO and other studios. ~ All Movie Guide

Calling All Cars was the title of a popular radio anthology of the mid-1930s, broadcast exclusively on the West Coast. The 1935 film version of Calling All Cars, unlike the series, was not (so far as we can determine) based on an actual case history. The sliver of a plot involves mobile thieves, who spend half the picture hiding out from the highway patrol. Heading the cast is veteran movie-heavy Jack LaRue and singer Lillian Miles. Calling All Cars sputters to a halt whenever anyone stops to deliver a line, but director Spencer Gordon Bennett keeps the wheels spinning during the hectic chase scenes. ~ Hal Erickson, All Movie Guide

Although Monogram Pictures hadn't yet reorganized as a separate entity in 1936, a few of its releases still managed to make their way to the public through the auspices of Republic. One of these was The Cheers of the Crowd, in which character actor Russell Hopton heads the cast as public-relations expert Lee Adams. Our hero gets in on the ground floor of the chain-letter craze, all the while battling over ethics with pretty female reporter Mary (Irene Ware). Things take a sinister turn when the recipient of a chain letter is murdered, a crime tied in with the long-lost wife of the film's villain. Corpulent Harry Holman, best known to modern viewers as the high-school principal in Frank Capra's It's a Wonderful Life, steals the film as the misleadingly named "Honest John." ~ Hal Erickson, All Movie Guide

Carnival barker Spencer Tracy befriends elderly concessionaire Henry B. Walthall, who owns a picturesque but stodgy display depicting Dante's Inferno. Walthall is more interested in the spiritual aspects of Man's fascination with Hell, but Tracy uses hoopla and exaggeration to get the suckers into the Inferno. His interest isn't altruistic; Tracy is enamored of Walthall's niece, Claire Trevor. Through his publicity savvy, Tracy builds the Inferno into a major attraction, complete with full orchestra and scantily clad "devil girls". He also buys up the rest of the carnival, using cold-blooded tactics that result in the suicide of a fellow concessionaire. Within five years, Tracy is a millionaire tycoon of the Entertainment industry. While loved by his wife (Trevor) and son (Scotty Beckett), Tracy conducts his business ruthlessly, bribing a city official to look the other way regarding structural defects in his Inferno display. When this duplicity results in a disastrous accident at the exhibit, the bribed official kills himself. Tracy is exonerated thanks to legal chicanery, but his wife is fed up; she walks out on him, taking their son along. Injured in the accident, Inferno creator H. B. Walthall warns Tracy of the pitfalls of success, using an illustrated edition of Dante to make his point. For nearly ten minutes, the movie audience is treated to a lavish depiction of Hell, magnificently photographed by Rudolph Mate. When the plot resumes, Tracy is on hand for his latest venture, a sumptuous gambling ship. Thanks to the drunken negligence of the crew, the ship catches fire, and it is only upon learning that his son has sneaked aboard that Tracy realizes the consequences of his greed. Tracy labors heroically to rescue the passengers--and, incidentally, to atone for his past sins. ~ Hal Erickson, All Movie Guide

Fay Wray screams when she first lays eyes on Lionel Atwill in Doctor X, but don't let that fool you. Atwill plays Fay's father this time around, and he may very well not be the diabolical "Moon Murderer" whom the police are seeking. Dr. Xavier (Atwill) maintains a research lab in a remote Long Island estate. The police suspect that one of Xavier's assistants--all "second-chancers" whose previous misdemeanors range from botched experiments to cannibalism!--is the mysterious murderer who strikes only when the moon is full. Newspaper reporter Lee Tracy sneaks into the estate to get a swell scoop, whereupon he falls in love with Fay. In trying to help the authorities, Xavier stages an elaborate trap for the Moon Murderer, with his daughter as the willing bait. The killer (we won't tell you who it is, but you'll figure it out anyway) reveals himself by coating his body with "synthetic flesh", which gives him supernatural powers. Based on a play by Howard C. Comstock and Allen C. Miner, Doctor X was originally filmed in two-color Technicolor; available for years only in black and white, the film was restored to its full tinted state in the 1970s. ~ Hal Erickson, All Movie Guide

Alice Faye, Frances Langford, and Patsy Kelly play three humble factory workers (with a Hollywoodized wardrobe beyond the budget of any genuine factory girl) who occasionally sing together for the fun of it. They harbor dreams of becoming famous, but the prospect isn't likely until bandleader George Raft hears the girls harmonizing. He promotes the girls into top radio stars, while each of the girls entertains romantic thoughts about Raft. (And yes, he does win one of them romantically, at the end of the picture). The likable but unimportant Every Night at Eight sparked a minor controversy in the rarefied world of 1960s film criticism. "Auteur" theorist Andrew Sarris pointed out a brief scene in which star George Raft awakens from a nightmare, cited other such scenes in the work of director Raoul Walsh, and used this "evidence" to support his theory that Walsh was a true auteur who left his "signature" on each of his films. Anti-auterist Pauline Kael spoke for many when she advised Sarris to go fly a kite. ~ Hal Erickson, All Movie Guide

In this romance a school marm takes a cruise and falls for an unobtainable man, a district attorney married to a crippled woman. ~ Sandra Brennan, All Movie Guide

Down on his luck in 1934, Erich Von Stroheim accepted a leading role in the Chesterfield Pictures cheapie Fugitive Road, making lemonade from a lemon by offering his services as "supervisor of military detail" (according to some sources, he also contributed to the script). Set during WW I, the film concerns a menage a trois at a border outpost. The players in this romantic triangle are Prussian Captain Oswald Von Traunsee (Von Stroheim), escaped American gunman Riker (Leslie Fenton) and Russo-Hungarian refugee Sonia (Wera Engels). Flying in the face of his "Man You Love to Hate" image, Von Stroheim surprisingly ends up the hero of the piece -- but not before nearly forcing his attentions on the cringing heroine. Unlike most Chesterfield pictures, the bulk of which were photographed by M. A. Anderson, Fugitive Road was atmospherically lensed by Ted McCord. ~ Hal Erickson, All Movie Guide

Hard to Handle stars James Cagney as a fast-talking promoter who pounces upon every current fad and foible to make a quick buck. He promotes marathon dances (where spectators feel cheated because no one drops dead), crash diets, reducing creams and treasure contests, finagling his way into the confidence of high rollers and money men. In a cute "inside" joke harking back to a choice Cagney moment in The Public Enemy, our hero at one point takes up the promotion of grapefruits! Like most conners, Cagney isn't aware when he is being conned himself, and he falls victim to his marathon-dance business partner, who absconds with the winnings. The contest winner is pretty Mary Brian, whose mother (Ruth Donnelly) tries to extract payment by forcing Cagney to marry her daughter. He does, but only after eight reels of high-pressure wheeling and dealing. In the tradition of Jimmy Cagney's other early-1930s, Hard to Handle is socked over by the energetic insouciance of its star. ~ Hal Erickson, All Movie Guide

The classic comedians Burns and Allen are featured in this fast-paced farce that includes an assortment of corny vaudeville acts. The story centers around Gracie, the daughter of a wealthy business magnate. To prevent a gigolo, who is attempting to seduce his other daughter, from getting his fortune, the father gives all his money, temporarily, to Gracie who promptly turns their Park Avenue manse into a boarding house for impoverished show biz performers. She charges them nothing. Some of the acts that stay there include: Jack Powell, Cal Norris and Monkey, The Buccaneers, Moro and Yaconelli, Pascale Perry and Partner, The Six Candreva Brothers, Seymour and Corncob, Jester and Mole, Jack Cavanaugh and Partner, Six Olympics and Big Boy Williams. In the end, all the residents stage a show to give themselves a chance for a comeback. ~ Sandra Brennan, All Movie Guide

Higher and Higher was advertised by RKO Radio as "The Sinatra Show", and small wonder: In his first major film role, Frank Sinatra was easily the film's biggest box-office draw. Actually, Frankie was a last minute addition to the film, which began as a traditional adaptation of a popular Broadway musical. Repeating his original stage role, Jack Haley plays Mike, the head servant in the household of millionaire Mr. Drake (Leon Errol). When Drake faces bankruptcy, Mike rallies the servants together and cooks up a moneymaking scheme: they'll pass off pretty scullery maid Millie (Michele Morgan) as Drake's daughter, and marry her off to a wealthy bachelor. Complicating matters is Sir Bictor Fitzroy Victor (Victor Borge), an impoverished nobleman who is himself looking for a rich wife. Mike saves the day with a last-minute discovery in the wine cellar, but not before a series of hilarious and tuneful plot twists involving Millie, heiress Katherine (Barbara Hale), and hired help Mickey (Marcy McGuire) and Marty (Mel Torme). Hastily written into the proceedings as Drake's next door neighbor, Sinatra croons several standards-to-be, including "I Couldn't Sleep a Wink Last Night" and "This is a Lovely Way to Spend an Evening"; he also is arbitrarily permitted the film's closing shot, emerging from heavenly clouds like the Second Coming of Music. Thanks to the film's enormous box-office take, everybody was happy with Higher and Higher--except Jack Haley, understandably miffed that his onetime starring role was whittled down to a supporting part to allow more screen time for the estimable Mr. Sinatra. ~ Hal Erickson, All Movie Guide

In this drama, a vengeful woman searches for the man she blames for her sister's suicide. To get at him, the woman masquerades as a mousy maid in the tiny hotel where he stays. The story is set in Gallacia during WW I and while she enacts her plan, the Russians and Austrians take over the town. This does not stop her from getting revenge. This is a remake of a 1927 film of the same title. In Hollywood it has the legend of being a cursed production in that it suffered endless production problems and major changes in cast and crew. Originally Marlene Dietrich was to play the title role, but she and director Henry Hathaway were constantly at loggerheads. With the help of Paramount head Arthur Lubitsch, she got Hathaway to rewrite the script with Grover Jones. The new story was called I Loved a Soldier and things resumed. Unfortunately, Lubitsch had been fired and Dietrich, still miserable, abruptly quit, costing Paramount, a fortune. All production ceased, but later they resurrected the original script and tried again to make the film with Margaret Sullavan. Unfortunately, Sullavan and a co-star were horsing around one day on the set and she ended up with a broken arm. The studio heads demanded she perform the role in a sling. This was too much for Hathaway who immediately quit. Soon after, Dietrich returned with her long-time director Josef von Sternberg and said she was now willing to make Hotel Imperial. The studio heads refused and eventually the lead was given to Italian actress Isa Mira. A major sex symbol in Italy, she made this her U.S. debut. Unfortunately, she spoke little English and was forced to recite her lines phonetically. Meanwhile her co-star Ray Milland nearly died during a scene in which he had to lead a cavalry charge. During the run, he was thrown off his horse and tossed head first into a brick pile. Fortunately he only suffered a concussion. Later Hotel Imperial was remade as Five Graves to Cairo Sometimes, as in this case, the history behind the film is more interesting than the film itself, no? ~ Sandra Brennan, All Movie Guide