Ian Hunter Movies

1941's Dr. Jekyll and Mr. Hyde is the second sound version of the Robert Louis Stevenson "doppelganger" tale. This time Spencer Tracy plays the benevolent Dr. Jekyll, whose experiments in releasing the evil impulses within himself transform him into the bestial Mr. Hyde. The problem here is that while Tracy is convincing enough as Hyde, we have trouble accepting him as the kindly Jekyll--exactly the opposite of the 1931 version, in which Fredric March was credible as both Jekyll and Hyde (in fairness to Tracy, it must be noted that he didn't want to play the role and had to be forced into it). MGM decreed that no publicity pictures be released showing Tracy in his Hyde makeup, thereby building up audience anticipation. It's just as well that MGM kept these pictures under wraps: Tracy's Hyde looks less like the Living Personification of Evil than like a man who's been on a three-day bender. The most fascinating aspect of this version of Dr. Jekyll and Mr. Hyde is the casting of the two leading ladies. Ever since the 1920 John Barrymore version of this story, it has been de rigeur to symbolize the schism between Jekyll and Hyde by giving him both a "good" and "evil" girlfriend. Originally, MGM adhered to typecasting by assigning the good girl to Ingrid Bergman and the bad one to Lana Turner. But Bergman begged the studio to be allowed to play the more wicked of the two ladies; as a result, hers is by far the best performance in the picture. Neither as lively as the 1920 version nor as innovative as the 1931 remake, MGM's Dr. Jekyll and Mr. Hyde is weighted down with tiresome dialogue and over-obvious symbolism (catch that dream sequence in which Ingrid Bergman and Lana Turner make like racehorses!) Despite its shortcomings, Dr. Jekyll and Mr. Hyde was infinitely preferable to the next remake, Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953). ~ Hal Erickson, All Movie Guide

All that MGM's Ziegfeld Girl lacks is Technicolor; otherwise, the film has talent and "sock" entertainment value in abundance. The story focuses on three showbiz hopefuls-Judy Garland, Hedy Lamarr and Lana Turner-and the efforts to attain the lofty status of "Ziegfeld Girl." Garland is compelled to leave her family vaudeville act; she bids her dad Charles Winninger a tearful farewell, and later falls in love with Turner's brother Jackie Cooper. In her bid for success, Lana forgets all about her faithful boyfriend James Stewart, who turns to bootlegging to come up to the financial stature of Lana's new beau, socialite Ian Hunter. Lamarr nearly dumps her impoverished violinist husband Philip Dorn as she climbs the ladder of success. There are happy endings in store for two of the three female leads, but we'll let you watch the film yourselves to find out who wins and who loses. Featured in the cast are Tony Martin, Edward Everett Horton, Eve Arden, Dan Dailey, and, in a poignant cameo as a wardrobe woman, the "ever popular" Mae Busch. Song highlights include "Minnie from Trinidad", "You Never Looked So Beautiful Before", "I'm Always Chasing Rainbows", "Laugh? I Thought I'd Split My Side", "Caribbean Love Song", "Whispering", "Mr. Gallagher and Mr. Shean" (performed by Charles Winninger and the surviving half of the Gallagher-and-Shean duo, Al Shean-who happened to be the Marx Bros.' uncle), "You Stepped Out of a Dream" and "You Gotta Pull Strings." ~ Hal Erickson, All Movie Guide

"Strange" is right: this mystical MGM melodrama has to be the oddest of the studio's Clark Gable-Joan Crawford vehicles. When eight prisoners escape from a New Guinea penal colony, they are picked up by a sloop commandeered by another escapee named Verne (Gable) and his trollop girl friend Julie (Joan Crawford). Among the fugitives is Cambreau (Ian Hunter), a soft-spoken, messianic character who has a profound effect on his comrades. One by one, the escapees abandon their evil purposes and find God-and a peaceful death--through the auspices of the Christlike Cambreau. The last to succumb to Cambreau's ministrations is Verne, who agrees to return to return to the prison colony serve out his sentence if Julie will wait for him (which she does). A superb Franz Waxman score provides a touch of show-biz grandeur to this haunting fable. ~ Hal Erickson, All Movie Guide

Though its title suggests a war picture of some sort, MGM's Gallant Sons actually concerns the efforts of a group of kids to solve a murder. Young Johnny Davis (Gene Reynolds) is beside himself when his gambler father (Ian Hunter) is arrested for murder. In truth, Davis' pop is shielding several other people, whose reputations might have been ruined during his trial. Sensing that something is amiss, Johnny's pal Byron Newbold (Jackie Cooper) and his ragtag collection of tenement cronies play detective themselves to clear the elder Davis' name and trap the actual killer. Bonita Granville, at the time Jackie Cooper's girl friend, plays the only female member of the crime-solving gang. Coincidentally, Cooper, Granville and costar Gene Reynolds would later go into the production end of the business; in fact, in the early 1970s Reynolds would hire Cooper to direct an Emmy-winning episode of MASH. ~ Hal Erickson, All Movie Guide

The 1922 George S. Kaufman-Marc Connelly play Dulcy was based on a delightful character created by columnist Franklin P. Adams: Archetypal "dumb wife" Dulcinea, who continually spouted cliches like "There's never a policeman around when you need one" and "Don't take any wooden nickels." Lynn Fontanne created the role of Dulcy on stage, followed in 1923 by Constance Talmadge in the first screen version, then by Marion Davies in 1929's Not So Dumb, the first talkie version of the Kaufman-Connelly comedy. This 1940 remake stars Ann Sothern as dizzy Dulcy, who hopes to improve her aviator boyfriend Gordon Daly's (Ian Hunter) business prospects by holding a fancy dinner party. The result is a disaster, but the introduction into the plotline of a Chinese war orphan (intended as a timely touch) solves everyone's problems. Like the original play, the film is stolen by Dulcy's ex-con butler, here played by "Big Boy" Williams. A very young Hans Conried has a cute running gag as a saturnine author, whose ongoing efforts to find solitude in a canoe are continually (and literally) scuttled by the zany Dulcy. ~ Hal Erickson, All Movie Guide

Jeanette MacDonald and Lew Ayres make strange bedfellows in the overproduced MGM musical Broadway Serenade. She plays aspiring singer Mary Hale, and he plays her husband, struggling songwriter James Geoffrey Seymour. The couple's vaudeville act breaks up when Mary is hired for a big-time Broadway revue. As she rises to the top of the show-business heap, Seymour hits the skids, having lost his inspiration. On the verge of divorcing Seymour to marry a wealthy producer, Mary finally realizes that her life will be incomplete without her husband by her side. Saving the film from drowning in a sea of cliches are Jeanette MacDonald's musical renditions, not to mention the comedy relief of Frank Morgan and veteran vaudevillian Al Shean. ~ Hal Erickson, All Movie Guide

Basil Rathbone's real-life son, John Rodion, has his head chopped off early on in this historical melodrama often mistakenly referred to as a horror film. Yes, a second-billed Boris Karloff does stomp about on a club-foot as the Duke of Glouchester's chief executioner, Mord, but Karloff's presence is really more colorful than horrifying. Rathbone is the main villain here, as the Duke of Glouchester, the deformed second brother of Edward IV (Ian Hunter), whose throne he covets. But before he can place himself on that exalted chair, there are quite a few relatives and pretenders to be rid off. The exiled Prince of Wales (G.P. Huntley) is dispatched during a battle, and his father, the feeble-minded Plantagenet King Henry VI (Miles Mander), who steadfastly refuses to gracefully die of old age, is murdered by Mord. Half-brother Clarence (Vincent Price), meanwhile, is drowned very picturesquely in a vat of Malmsey wine and when Edward IV dies of natural causes, only his two young sons remain. To the horror of Queen Elizabeth (Barbara O'Neil), Glouchester is named their protector -- which of course means that Mord the executioner will be working overtime once again. But the evil duke, now Richard III, has not counted on the heroic John Wyatt (John Sutton), who, by looting the treasury, is able to bring back from exile in France yet another pretender, Henry Tudor (Ralph Forbes). The latter's invasion proves victorious at the famous battle of Bosworth Field and the brutal reign of Richard II, and his executioner, comes to an end. ~ Hans J. Wollstein, All Movie Guide

Tarzan Finds a Son was to have been Maureen O'Sullivan's final Tarzan film, with Jane getting killed in the final reel. But Edgar Rice Burroughs refused to allow MGM to kill his character, so MGM had to increase her salary a substantial amount to do a few more Tarzan adventures. Tarzan Finds a Son was also the first MGM Tarzan film in three years and it introduced a new character --Boy (Johnny Sheffield). Tarzan (Johnny Weissmuller) finds Boy as an infant in a plane-wreck deep in the heart of the African jungle. He takes the baby to his jungle home where he and Jane (Maureen O'Sullivan) raise him as their own son for five years. When Boy's relatives find out that he is alive, they are less than happy, since he stands to receive a large inheritance. An evil African tribe then captures Tarzan and Jane and it is left to Boy to try to rescue them. ~ Paul Brenner, All Movie Guide

Despite the presence of Busby Berkeley in the director's chair, Comet Over Broadway contains nary a single musical number. Instead, the film concentrates on the lachrymose private life of stage star Eve Appleton (Kay Francis). While appearing in amateur theatricals, Eve indirectly causes the death of a fellow actor at the hands of her husband Bill (John Litel). When Bill is thrown into jail, Eve goes on the road, appearing in one cheap stock company after another to earn enough money for her husband's parole. Seven years pass, during which time Eve becomes the toast of Broadway. Falling in love with playwright Bert Ballin (Ian Hunter), Eve almost forgets the reason that she climbed to stardom in the first place, but by the final reel she elects to give up personal happiness to remain loyal to her incarcerated husband. Way, way down the cast list of Comet Over Broadway is Linda Winters, who as Dorothy Comingore achieved stardom in Orson Welles'Citizen Kane (1941). ~ Hal Erickson, All Movie Guide

Former doctor Jim Howard (Herbert Marshall) helps desperate Margot Weston (Barbara Stanwyck), pregnant and unmarried; when her son is born, Jim helps her place the baby with Phil Marshall (Ian Hunter) and his wife, on the condition that neither the Marshalls nor the child ever know Margot is his mother. Five years later, Margot is now a well-paid buyer for the store owned by Harriet Martin (Binnie Barnes); she meets Jim again, and a romance begins to blossom, but she's off to Paris on Harriet's behalf. There, Margot is wooed by the charming but carefree Count Giovanni Corini (Cesar Romero) and she happens to meet her son Roddy (Johnnie Russell), traveling with his aunt, as Mrs. Marshall has died. On the trip back to America, Margot and Roddy become very close, while Corini, on the same ship, continues to pursue Margot. At home, she becomes convinced that Jessica (Lynn Bari), Phil's new fiancee, doesn't love him, and will be a bad mother to Roddy, so she decides to break up the engagement, but Jim, beginning a career as a scientist, reminds her of her earlier promise not to interfere in the boy's life. ~ Bill Warren, All Movie Guide

The 1938 filmization of Myron Brinig's novel The Sisters stars Bette Davis, Jane Bryan and Anita Louise as Louise, Grace and Helen Elliot. The daughters of turn-of-the-century druggist Henry Travers and his wife Beulah Bondi, the Elliot girls all meet their future husbands at a 1904 ball in honor of President Teddy Roosevelt. Special emphasis is given the relationship between Louise and reckless, irresponsible newspaperman Frank Medlin (Errol Flynn). Feeling trapped by his marriage, Medlin turns to drink and philandering. When Frank eventually runs off to Singapore, Louise is too proud to hold her husband by informing him that she's pregnant. Caught up in the 1906 San Francisco earthquake (superbly conveyed with a single interior shot of a collapsing apartment), Louise wanders around dazedly until she finds shelter in an Oakland brothel (though it is not so specified). She loses her baby, but is consoled by her employer Ian Hunter, who falls in love with her. The original book ended with Louise giving up her unhappy marriage for a joyous relationship with her boss; the film ends with Louise being reunited with the suddenly sobered Frank (despite the protests of both Bette Davis and Errol Flynn). A prime example of Hollywood Soap Opera, The Sisters also yielded an amusing reel of outtakes, the best of which shows Bette Davis breaking up Errol Flynn by sighing "I've just had a baby in the ladies' room." ~ Hal Erickson, All Movie Guide

The title of this Errol Flynn vehicle sprang from an "inside" joke at Warner Bros. Whenever the studio depicted a marquee or poster of a fictional film in one of their productions, the film's title was inevitably Another Dawn. When time came to shoot this Flynn epic, the studio, stuck for a title, opted for Another Dawn -- and had to cast about for another phony film title whenever the necessity arose. An unabashed soap opera, the film casts Flynn as Captain Denny Roark, a British army officer stationed in a remote Sahara outpost. Against his better judgement, Roark falls in love with Julia (Kay Francis), the wife of his commanding officer Colonel Wister (Ian Hunter). Wister knows what's going on, but he is too much the gentleman to interfere, just as Roark is too much the gentleman to demand that the Colonel grant Julia a divorce. Wister finally does the honorable thing by volunteering for a suicide mission, allowing Roark and Julia to continue their romance unencumbered. About the only distinguishing aspect in this dreary exercise in restraint is the lush Erich Wolfgang Korngold musical score. ~ Hal Erickson, All Movie Guide