Paul Hurst Movies

In this off-beat outdoor adventure, a courageous Mountie braves the elements and many dangers to deliver mail to remote Northwestern outposts. ~ Sandra Brennan, All Movie Guide

Riff-Raff begins riff-raffing when boastful fisherman Dutch (Spencer Tracy) marries down-to-earth cannery worker Hattie (Jean Harlow). Their happiness is marred by Dutch's egomania, which results in the loss of his job and the alienation of his friends. Eventually he deserts Hattie, but she remains in love with him, even going to jail on a theft charge after trying to supply him with money. Reels and reels later, Dutch makes up for his past misdeeds by foiling a plot to sabotage a huge fishing vessel. Unfortunately, his reunion with Hattie is delayed when she tries to break out of prison, earning her an extended sentence, but he magnanimously promises to wait for her. Hard to believe that so sensible a heroine would put up with so much from a guy who's frankly not worth the trouble, but the chemistry between Spencer Tracy and Jean Harlow compensates for the film's Grand Canyon-sized logic holes. ~ Hal Erickson, All Movie Guide

The stringent censorship imposed upon Hollywood of the mid-1930s dictated that gangsters could no longer be the "heroes" in any crime film. Public Hero No. 1 reflects this restriction. G-Man Chester Morris poses as a crook to infiltrate the notorious Purple Gang, a band of hoodlums which preys upon other hoodlums. Orchestrating the jailbreak of the Gang's leader (Joseph Calleia), Morris joins him in a Dillinger-like flight across the country. The bloody denouement, which occurs in a vaudeville theatre, is likewise drawn from the Dillinger saga (that particular gentleman was of course killed in front of a movie house). Also featured in Public Hero No. 1 is Jean Arthur as the heroine (a comic role) and Lionel Barrymore as a drunken gang doctor. The film was remade as The Getaway in 1942. ~ Hal Erickson, All Movie Guide

Errol Flynn makes his Hollywood screen debut as a corpse in this funny, fast-paced whodunit, the third of six Perry Mason vehicles produced by Warner Bros. from 1934 to 1937. Flynn's murder victim is one Gregory Moxley, the estranged and long-thought dead husband of Perry's client, Rhoda Montaine (Margaret Lindsey), who, in the meantime, has married a millionaire (Donald Woods) and is ripe for blackmail. Perry agrees to meet with Moxley, but finds him very much dead and this time for good. Rhoda naturally becomes the prime suspect, but, with the able assistance of his wisecracking secretary Della Street (Claire Dodd), Perry is able to reveal the identity of the real culprit, not in the courtroom this time, but at an elegant cocktail party. ~ Hans J. Wollstein, All Movie Guide

In her American film debut, British stage luminary Constance Collier dominates MGM's Shadow of Doubt as wealthy, reclusive Aunt Melissa, a character obviously based on "witch of Wall Street" Hettie Green. Emerging from a 20-year seclusion, Melissa announces her intention to disown her nephew Sim (Ricardo Cortez) if he marries temperamental actress Trenna (Virginia Bruce), who has been implicated in a double murder case. A ubiquitous presence throughout the picture is Sim's best friend, eternally inebriated columnist Reed Ryan (Regis Toomey), who's more than a little anxious to crack the case -- or so he claims. But the person responsible for the film's happy ending is none other than Melissa, who turns out to be a sweet old gal after all. Shadow of Doubt was one of a brief mid-1930s cycle of "female-detective" films, which included the Hildegarde Withers and Nurse Sarah Keane mysteries. ~ Hal Erickson, All Movie Guide

In this drama, an old woman gets disgusted by her relatives and runs away from home. She then begins working as a cook in the home of a prominent antique dealer who works as a jewel thief on the side. As the chef, she gradually meets all of his gang members and takes a special liking to one young man and his girl friend, whom she encourages to reform. Eventually, the crook decides to heed her advice, but before he can safely leave, he must pull off a final caper. Worried, the cook follows him. When the boy is caught, she gets the jewels from him and tries to take the fall. ~ Sandra Brennan, All Movie Guide

In this crime drama, a famous criminal attorney is abandoned by his wife who has tired of his neglect and heavy drinking. She runs to the arms of a prominent gangster. Later, the lawyer must take a murder case--his ex-wife is the victim. It is quite a shock, but somehow he manages to keep it together and keep an innocent man from going to jail. The lawyer then brings the woman's criminal lover, the real culprit, to justice. ~ Sandra Brennan, All Movie Guide

In an early pro-ecology effort, Jean Parker stars as a girl dwelling in the High Sierras. Awkward with humans, her best friends are the surrounding animals, especially her pet deer and puma. When hunters invade the territory, she struggles to protect the local wildlife. The outdoor photography is this film's principal asset; things grind to a halt whenever anyone opens his or her mouth to speak. Sequoia was based on a novel by Anne Cunningham called Malibu, and was later reissued under that title. ~ Hal Erickson, All Movie Guide

Showmen's Productions, a miniscule poverty-row firm, issued its one-and-only release The Big Race in 1934. Heading the cast is Boots Mallory, a lively blonde starlet who later retired to marry James Cagney's producer brother William Cagney. Most of the heavy dramatics are carried not by Mallory but by John Darrow and Phillips Smalley, father-and-son horse trainers who have a serious falling-out just before the big handicap race. Darrow and Smalley are reconciled when both discover that they've been betrayed by a third party. The Big Race really takes off in the action sequences, courtesy of onetime Harold Lloyd director Fred Newmeyer. ~ Hal Erickson, All Movie Guide

If Queen Christina is not the best of Greta Garbo's films (as many Garbo fanatics insist), it is certainly the most luxuriously romantic of her talkie features. The star is cast as 17th-century Swedish queen Christina, who feels that she can best function in a male-dominated world by adopting men's clothes and attitudes (this cross-dressing element adds a subliminally gay subtext which curiously makes the subsequent events all the more poignant). Fiercely devoted to her country and the welfare of her people, Christina has long since abandoned all thoughts of pursuing any kind of a romance -- but changes her mind when she meets and falls in love with Spanish envoy Antonio (John Gilbert). After an idyllic night together, Christina and Antonio are compelled to part, but the Queen vows then and there to relinquish her throne in favor of marriage to the envoy. Alas, the complex political machinations between their two countries permanently separate the two lovers, leaving Christina more alone in the world than ever. The chemistry between Garbo and Gilbert -- who as the whole world knew in 1933 had once been real-life lovers -- is positively mesmerizing, especially in the classic scene wherein Christina, after consummating their passion, walks dreamily around their room, touching and memorizing every detail (so persuasive is her pantomime in this scene that her last-minute explanation as to what she is doing is not only unnecessary, but downright jarring). Equally unforgettable is the final shot of Garbo staring enigmatically past the camera, allowing the viewer to "fill in" her thoughts (director Rouben Mamoulian always claimed that he ordered Garbo to think about "absolutely nothing," but one wonders). While some of Garbo's earliest talkies tend to creak a bit, Queen Christina is as fascinating today as it was nearly seven decades ago, and will undoubtedly continue to remain just as fascinating for the next seven decades. ~ Hal Erickson, All Movie Guide

Marie Dressler plays the title character, tugboat captain Annie Brennan, in this 1933 Hollywood box office hit. Her husband Terry (Wallace Beery) is a lazy, bragging drunk. Robert Young plays their son Alec, who has big ambitions and winds up as captain of a fancy ocean liner. The ocean liner's owner is Red Severn (Willard Robertson), whose daughter Pat (Maureen O'Sullivan) is the object of Alec's longings. Young tries to get his mother to leave his father and join him on the ocean liner, but she refuses out of love for her husband and her tugboat. Terry crashes the tugboat while drunk one night, and it is sold at an auction, then repaired and converted into a garbage boat. Sequels were made in later years, with Marjorie Rambeau and later Jane Darwell in the title role, and it was made into a TV series in the 1950s. ~ Michael Betzold, All Movie Guide

Young football hero Jim Fowler (Robert Young) isn't in it for the love of the game. The hardworking young man is simply using the sport as a means to help him pay for school, and doesn't consider it any different from the laundry service he runs in his spare time. Rather than stroking his ego, the constant onslaught of football fanatics and sports reporters disgust Jim (Young) to the extent that his football coach (Joe Sawyer) tells old football chums--Jim's father Ezra (Grant Mitchell) and the father of Jim's girlfriend--about the star player's erratic behavior. The men, being passionate football fans themselves, are saddened by Jim's lackluster attitude towards the game. Convinced that people only respect him because of his skills on the field, Jim distances himself from Joan (Leila Hyams), his girlfriend, and seeks out a woman he believes knows nothing about football or his role in it. To his surprise, however, she not only knows of his career, but blackmails him to throw the game. When he refuses, her husband breaks Jim's hand. Suddenly inspired, Jim refuses to let the coach know about his condition and heroically takes to the field with a new perspective. Regardless of whether the big game is one or lost, Jim realizes that his teammates, being true friends after all, would rather lose with him than win without him. ~ Tracie Cooper, All Movie Guide

In Scarlet River, Tom Keene plays "himself," a cowboy movie star, on location in the Wide Open Spaces for his latest epic. The locals chortle and guffaw at these picture people posing as genuine Westerners, but Keene proves his worth by rescuing Dorothy Wilson from villainous ranch foreman Creighton Chaney (aka Lon Chaney Jr.). Edgar Kennedy plays the flustered director, forever tearing out what little hair he has. The film-within-a-film sequences are staged with reasonable accuracy (future consumer advocate Betty Furness shows up as Keene's on-camera ingenue), while a few shots at the RKO commissary offer glimpses of studio contractees Myrna Loy, Joel McCrea and Bruce Cabot. The basic premise of Scarlet River would be revived in several future westerns by such cowboy stars as Charles Starrett, Buck Jones and Gene Autry. ~ Hal Erickson, All Movie Guide