Harold Huber Movies

In this action film, a rebellious cop doesn't hesitate to bend the rules when it comes to roughing up prisoners and bringing in deadly gangsters. His insistence on working alone and on using excessive violence causes conflict with his superiors. They change their minds when he engages in a great shoot-out with a notorious gun-toting gang leader and brings him to justice. ~ Sandra Brennan, All Movie Guide

Ace reporter Casey (Stu Erwin) and city editor Blaine (Paul Kelly) are agreed on only one point: women are trouble! This is confirmed when Casey is constantly outscooped by rival news-hound Ruth (Florence Rice), whose sugary Southern-belle accent conceals a will of iron. Casey and Ruth are forced to become reluctant allies while investigating gangland activity in the liquor business. When the bad guys kidnap our hero and heroine, they are saved by an incorruptible cop (Cy Kendall) who'd previously been demoted on the say-so of gangster boss Pusher (Harold Huber). The screenplay has a full quotient of puns and snappy one-liners, which Stu Erwin socks over with his usual shambling aplomb. ~ Hal Erickson, All Movie Guide

Produced by Hal Roach, Kelly the Second is one of the few feature films to capture the comic spirit of Roach's wonderful two-reelers. Patsy Kelly stars as Molly Kelly, who as the result of an unexpected street brawl becomes the trainer of truck-driver-turned-prizefighter Cecil Callahan (Guinn "Big Boy" Williams). It seems that Cecil is a gentle soul who turns into a fighting fool whenever he hears the strains of "The Irish Washerwoman." Molly talks her boss, druggist Doc Klum (Charley Chase), into financing Cecil's ring career, which gets Doc in dutch with gangsters Ike (Ed Brophy) and Spike (Harold Huber). When Cecil's head is briefly turned by Ike's moll Gloria (Pert Kelton), Molly walks out on him but returns in time to cheer him to victory in the inevitable Big Fight. Despite some formidable comic competition, the film is stolen by the great Charley Chase, in one of his few feature-film appearances. Kelly the Second also features unbilled cameos by such Hal Roach favorites as Max Davidson and Carl "Alfalfa" Switzer (Billy Gilbert, alas, was cut from the final release print); best of all, the musical score includes several familiar "background" themes by the inimitable LeRoy Shield. ~ Hal Erickson, All Movie Guide

In his first American film, Peter Lorre portrays egg-bald Dr. Gogol. A brilliant and highly respected surgeon, Gogol would give up everything he has in life for the love of Yvonne Orlac (Frances Drake), star of the Parisian Horror Theatre. But Yvonne is deeply in love with her husband, concert pianist Stephen Orlac (Colin Clive). When Orlac loses his hands in a train accident, Yvonne pleads with Gogol to save her husband. Perversely, he does so by grafting the hands of a recently executed murderer onto Orlac. Not only is Orlac unable to resume his musical career, but he has suddenly developed a peculiar talent for throwing knives; he also has a bad habit of attempting to win arguments by throttling his opponents. Gleefully exploiting his patient's torment, Gogol disguises himself as the executed killer and tries to convince Orlac that he, Orlac, was responsible for a recent murder. In a effort to prove her husband's innocence, Yvonne goes to Gogol's home and switches places with a lifesize replica of herself that the obsessive Gogol keeps in his living room. Only the last-minute intervention of Orlac saves Yvonne from being strangled by the crazed Gogol. The first of several film versions of Maurice Renard's The Hands of Orlac, Mad Love was directed by cinematographer Karl Freund. Its deployment of certain visual elements that would later (consciously or otherwise) be adopted by Orson Welles in Citizen Kane brought Mad Love a surfeit of latter-day attention when Pauline Kael annotated the resemblances in her 1971 New Yorker article on Kane (Ms. Kael's assessment of Mad Love as a "dismal, static horror film" is both unfair and untrue). ~ Hal Erickson, All Movie Guide

The first of MGM's phenomenally profitable Jeanette MacDonald-Nelson Eddy musicals, Naughty Marietta takes several beneficial liberties with the libretto of the original Victor Herbert operetta. MacDonald plays an 18th-century French princess who escapes an arranged marriage by posing as a "cake girl," a mail-order bride sent to the New World to marry a colonist. En route, MacDonald and the other brides are captured by pirates, but are rescued by mercenary Eddy and his roistering companions. To avoid marrying some lowly farmer or frontiersman, simon-pure MacDonald intimates that she is a woman with a "history," which makes her attractive to the glitterati of old New Orleans. Only Eddy sees through MacDonald's feigned "naughtiness," and in the end claims her for his own. The most memorable of the Herbert songs retained for the film version of Naughty Marietta was "Ah, Sweet Mystery of Life", which remained one of Jeanette MacDonald's signature tunes ever afterward. ~ Hal Erickson, All Movie Guide

Reckless is a delightfully breezy screwball comedy from the same director (Victor Fleming) and star (Jean Harlow) responsible for the celebratedBombshell (itself a film à clef loosely based on Clara Bow) -- with the added appeal of William Powell. One can readily see the chemistry between the two stars at work, which would lead to their impending marriage at the time of Harlow's death a year later. The sets for the Broadway number that Harlow's Mona Leslie performs in are also extraordinary. Mona Leslie (Jean Harlow) is an up-and-coming Broadway actress, dancer, and singer, who leads a happy-go-lucky, freewheeling lifestyle; bailed out of jail by family friend Ned Riley (William Powell), a sports promoter who loves Mona but won't slow down his lifestyle long enough to give her the satisfaction of admitting it, she performs in a bizarre "benefit" show, only to discover that she has an audience of one, wealthy admirer Bob Harrison (Franchot Tone). He declares his love for her and a romance does develop, but when he proposes marriage, he discovers that his upper-crust set won't accept a showgirl as one of their blue-blood crowd.

Their romance leads to a marriage and desperate unhappiness for all concerned, most of all Harrison, whose basic neurotic nature gets worse as the marriage deteriorates. When Harrison takes his own life, Riley and Mona find themselves accused of every foul deed possible, and when Mona gives birth to a son, a legal battle ensues over custody of the child, with Harrison's family claiming that she is unfit. Finally, Mona decides to fight back -- she gets Harrison's family to stand down by giving up any claim to her late husband's money, but she must now contend with the nation's self-appointed moral guardians. No producer will take the risk of backing a show with Mona in it, but she finally gets a helping hand from Ned Riley. The movie has a few too many changes in tone, which detracts from the verisimilitude. The whole story is a film à clef based on the tragic romance between torch singer Libby Holman and tobacco heir Smith Reynolds (which also provided fodder for such à clef films as Brief Moment, Sing, Sinner, Sing, and Written on the Wind) -- and Harlow's singing is obviously dubbed, just as her dancing is doubled. Also, the songs -- except for the final two numbers -- don't quite fit with the melodrama, and the Damon Runyon-esque comic antics feel completely out of left field at times. But when she and Powell are onscreen together, the film just lofts into the air, past all of those flaws. ~ Bruce Eder, All Movie Guide

The rivalry between two deep-sea diver is chronicled in this adventure. The trouble begins when a young woman inherits one of the diver's boats and promptly hires his rival to help out. At first they swear to stay away from her, but they cannot and many arguments ensue culminating in a fistfight aboard a roller coaster in an amusement park. During the scuffle, one of the men falls and lands in the ocean. He quickly swims away and is presumed dead causing the other man to be arrested for murder. Later a ship filled with gold founders, and the surviving salvager and his new partner must retrieve it with the agreement that they will split the take. Unfortunately, the new partner is avaricious and during the dive attempts to kill the other. Fortunately, the embattled salvager is saved by his ex-partner who was recently released from jail. They defeat their foe, but end up in the hospital where they continue arguing until the woman comes in and announces that she is engaged to the ship's captain. ~ Sandra Brennan, All Movie Guide

Nathaniel West's novel Miss Lonelyhearts inspired two films of the early 1930s: Advice to the Lovelorn (33) and Hi, Nellie! Paul Muni stars in the latter film as a big-city newspaper editor who gets in trouble for printing unsubstantiated information about a murder case. Muni is demoted and forced to write the paper's advice column, signing himself "Nellie." As he recklessly dispenses frivolous advice, Muni keeps tabs on the person he'd accused of murder. Using his "Nellie" connections, Muni gets the goods on the killer--and nearly gets rubbed out by a gangster mob. Warner Bros. must have been crazy about Hi, Nellie!, since the studio remade the film three times: Love is on the Air (37), You Can't Escape Forever (42), and House Across the Street (49). ~ Hal Erickson, All Movie Guide

Filmed on what MGM considered a B-picture budget and schedule (14 days, which at Universal or Columbia would have been considered extravagant), The Thin Man proved to be "sleeper," spawning a popular film, radio, and television series. Contrary to popular belief, the title does not refer to star William Powell, but to Edward Ellis, playing the mean-spirited inventor who sets the plot in motion. The recently divorced Clyde Wynant (Ellis) discovers that his new girlfriend, Julia Wolf (Natalie Moorhead), has stolen 50,000 dollars and is carrying on with other men. Not long afterward, he disappears. Anxious to locate her father, Wynant' daughter, Dorothy (Maureen O'Sullivan), goes to private detective Nick Charles (William Powell) for help. Having just married the lovely and wealthy Nora (Myrna Loy), Nick has no desire to return to sleuthing, but the thrill-seeking Nora eagerly talks him into taking Dorothy's case. Shortly thereafter, Wynant's lady friend is murdered; so far as police detective John Guild (Nat Pendleton) is concerned, the still-missing Wynant is the guilty party. Nick is unsatisfied with this deduction, and with the help of his wire fox terrier, Asta, he manages to uncover several vital clues -- including a decomposed corpse. At a fancy dinner party, between cocktails and the first course, Nick solves the mystery and exposes a hidden murderer. The story itself, lifted almost verbatim by scenarists Albert Hackett and Frances Goodrich from the Dashiell Hammett novel on which The Thin Man is based, hardly matters. The film's strong suit is the witty repartee between Nick and Nora Charles, who manage to behave like saucily illicit lovers throughout the film even though they're married. The chemistry between William Powell and Myrna Loy would be adroitly exploited by MGM in several subsequent films, including five additional Thin Man mysteries produced between 1936 and 1948. ~ Hal Erickson, All Movie Guide

Although it is included in TV's "Shock Theater" passage, there's nothing overtly frightening about the heavily plotted Universal melodrama The Crosby Case. Even while the opening credits are rolling, the audience is introduced to the five main suspects in the murder of a certain Mr. Crosby. Police inspector Thomas (Alan Dinehart) believes that Lynn Ashton (Wynne Gibson), an ex-lover of the victim, is the most likely suspect, though the audience is encouraged not to discount the elderly, seemingly frail Lubeck (Edward Van Sloan), oafish thief Collins (Warren Hymer), heavily-in-debt gambler Willie (John Wray), or even avuncular nightclub doorman Costello (J. Farrell McDonald). The story is a mosaic of flashbacks and flat cuts, the sort that would be hailed as "new" and "innovational" when Citizen Kane was released seven years later. Like RKO Radio's unrelated Ann Vickers, The Crosby Case has gained latter-day fame (or notoriety) with its subtle allusions to an illegal abortion. And yes, that is Walter Brennan in the ship's-stateroom scene. ~ Hal Erickson, All Movie Guide

In this odd-ball comedy, a self-sacrificing but eccentric mother attempts to guide her equally eccentric family. She has two sons and a daughter. One son is a communist and the other is a struggling prizefighter. Her daughter is trying to snag a married booking agent to help her break into radio. In addition to watching over her children, the mother must also help her husband find a full-time job. Real trouble comes when her husband's brother dies of indigestion following a big Chinese dinner and leaves her with $500,000 provided that she leave her family. She decides to take the money and run. Fortunately, she eventually decides to come back home. ~ Sandra Brennan, All Movie Guide

Previously filmed in 1919 and 1927, Max Marcin's stage success Cheating Cheaters made its talking-picture bow courtesy of Universal in 1934. Fay Wray stars as seductive Nan Brockton, seemingly in the employ of a gang of slick jewel thieves. The crooks disguise themselves as high-society types, as do the members of a rival gang. Nan falls in love with her crooked "opposite number" Tom Palmer (Cesar Romero), then reveals that she's not what she seems to be, enabling Tom to wipe the slate clean and start anew on the side of Law and Order. Originally released on a double bill with the Fox documentary The First World War, Cheating Cheaters represented the first big-studio directorial effort of Richard Thorpe, previously a mainstay of low-budget Chesterfield Productions. ~ Hal Erickson, All Movie Guide