Leila Hyams Movies

Two rich and wealthy millionaires who have a lot of money bet that reporter Robert Pryor can't spend $720,000 in twelve hours. If you're asking "Why $720,000?", the answer is: because this Republic programmer is titled $1000 a Minute . Anyway, a couple of cops spot Pryor flashing a roll of bills, and deduce that he's the bank robber they're looking for. For the rest of the film, Pryor must race around to spend his money, while remaining two steps ahead of the Law. The supporting actors in $1000 a Minute are delightfully cast to type, from Edgar Kennedy as a detective to Sterling Holloway as a helpful cabbie. ~ Hal Erickson, All Movie Guide

No relation to the 1951 Cary Grant film of the same name, People Will Talk was another of Paramount's moneymaking comedies starring Charles Ruggles and Mary Boland. This time the middle-aged pair try to patch up the marriage of their daughter (Leila Hyams) and son-in-law (Dean Jagger, with hair). They do this to quell the local gossip mongers, who have been set abuzz by the fact that daughter has come home alone. Ruggles and Boland stage a fake fight, hoping to shame their daughter into returning to her husband--and, as expected, the phony quarrel turns into the genuine article. People Will Talk was coscripted by Broadwayite Herbert Fields, the son of famed 1890s comedian Lew Fields and brother of lyricist Dorothy Fields. ~ Hal Erickson, All Movie Guide

Previously filmed in 1918 and 1923, Harry Leon Wilson's novel achieved movie classic status when it was remade by Leo McCarey in 1935. The story opens in Paris, circa 1908. Ruggles, beautifully underplayed by Charles Laughton, is the ultra-obedient manservant to the bibulous Earl of Burnstead (Roland Young). During one of the Earl's nocturnal forays, nouveau riche American cattle baron Egbert Floud (Charles Ruggles) wins Ruggles in a poker game. Terrified at the prospect of being bundled off to the Wild West, Ruggles' resolve is weakened somewhat when he and the raucous but ingratiating Egbert spend a wild night on the town. (The besotted butler's periodic exclamations of "Whoopee!" are priceless.) Back in the frontier "boom town" of Red Gap, a misunderstanding obliges Egbert's social-climbing wife Effie (Mary Boland) to pass off Ruggles as an aristocratic British army officer, immediately arousing the suspicions of priggish social arbiter Charles Belknap-Jackson (Lucien Littlefield). The longer he spends in America, the more Ruggles grows to like the concept of democracy and self-determination. Of the film's many highlights, two are standouts: the scene in which Ruggles silences a rowdy saloon crowd with his recitation of Lincoln's Gettysburg Address, and the droll, semi-improvised vignette in which dancehall girl Nell Kenner (Leila Hyams) teaches the Earl of Burnstead how to play the drums. Ruggles of Red Gap was filmed for a fourth time in 1950 as the Bob Hope-Lucille Ball musical Fancy Pants. ~ Hal Erickson, All Movie Guide

The mysterious death of a notoriously candid author provides the basis of this mystery. Investigators do not believe the suicide note found with his corpse. It seems the author had written a scandalous autobiography detailing his many affairs, with no regard to the feelings of the women involved. The police begin investigating these women and the story is told in flashback. It all began during a publisher's party for the author. Several of his ex-girl friends show up, and he entertains them. Afterward he returns to his study, but not before telling his butler that he plans to kill himself because life is simply too much to bear. It is the valet who suggests he leave a suicide note to protect the innocent. The distraught author does so and then fires the gun. Unfortunately, he only wounds himself. The butler runs in, sees an opportunity to at long last get revenge and finishes the job. He feels secure that he has committed the perfect crime. Unfortunately, he forgot about the second bullet embedded in the floor. Fortunately, the police find it and the butler gets his just desserts. ~ Sandra Brennan, All Movie Guide

In this comedy, two rubes from Montana find a fortune after they discover radium on their ranch. The nouveau riche ranchers then take a trip to England to see one of their girlfriends whose father sent her to stay with her blue-blooded relatives to keep her away from the red-necked country boy. As soon as the boys get to London, they really start paintin' the town red and getting into all sorts of trouble until they manage to reveal the true identity of a phony nobleman, a fugitive from justice. ~ Sandra Brennan, All Movie Guide

Jack Conway complained about being assigned to direct this comedy, claiming that a woman like the title character had almost ruined his own marriage. In a way he had a point , but only Jean Harlow could have made gold digger Lil Andrews a sympathetic protagonist. And Katherine Brush's racy novel (which first appeared, serial-fashion, in the Saturday Evening Post) could only have been filmed in the pre-Code days of the early 1930s. Helping both star and story is the snappy dialogue written by Anita Loos. Lil is the classic girl "from the wrong side of the tracks" -- she's a secretary with a bootlegger boyfriend and a wisecracking roommate named Sal (Una Merkel, who was a delightful foil to Harlow in several films). But Lil has ambitions -- she's "strictly on the level, like a flight of stairs," as one character says. She plans to snag Bill Legendre (Chester Morris), son of the venerable company head (Lewis Stone) -- no matter that he's happily married to his childhood sweetheart, Irene (Leila Hyams). Lil throws herself at Legendre until he can resist no longer and she snares him. But things don't work out as planned. Instead of making a big splash in society, she bombs -- so she casts her attention ever upwards to Gaersate, a coal king (Henry Stephenson). But a wrench is thrown into her scheme when she goes mad for his French chauffeur (Charles Boyer). "I've fallen in love and I'm going to be married!" she gleefully tells Sal, before explaining that it's the chauffeur she loves and Gaersate whom she will marry. However, Legendre Sr. has put a detective on Lil's trail and he shows Gaersate a handful of compromising photos. It looks like her game is up, but the last we see of the mercenary miss, she's leaving a fashionable Paris racetrack with a bearded old sugar daddy -- and her beloved chauffeur driving them away. In spite of all her blatant manipulations, Harlow gives Lil a childlike appeal, which makes her actions nearly forgivable (it also helps that the men are such dolts). But not everyone was able to accept a movie bad-girl who did not pay for her sins and, in fact, actually benefited from them -- the film was banned in Germany and England. It may not have gotten much play in France either, but certainly not because of Lil's wantonness. Charles Boyer, who was a star in his native country, was embarrassed at his failure to make a splash in America and didn't want his fellow Frenchmen to see him play a tiny bit-part. Depending on the source, he reportedly convinced MGM to either 1) release the film in France with his parts edited out (which would have made it quite confusing) or 2) not release the film there at all. ~ Janiss Garza, All Movie Guide

This early musical is a bit slim on story but features a number of vintage performances by a stellar cast, including some of the most popular radio stars of the day. George (George Burns) manages a radio station that is on the brink of bankruptcy. Leslie McWhinney (Stuart Erwin), a carefree millionaire, comes up with an idea to pull the station back into the black: persuade a host of big stars to appear on a special broadcast. One of the station's employees is a guy named Bing, played by an obviously well-cast Bing Crosby in one of his first major film appearances; Crosby gets to sing several tunes, as do Kate Smith, Cab Calloway, The Boswell Sisters, and several others. Young George Burns also performs several comic routines with his wife and partner Gracie Allen, who here plays Burns's stenographer. ~ Mark Deming, All Movie Guide

Men Call it Love, but Vincent Lawrence called it Among the Married when he wrote the play upon which this MGM film was based. Adolphe Menjou stars as Tony Minot, a randy bachelor who is so sophisticated that he serves cocktails on a rectangular tray to accommodate all of his lady friends at once. When her husband turns out to be unfaithful, Connie (Leila Hyams) throws herself at Tony, who is already deeply involved with another married woman. Eventually Connie's husband apologizes for his behavior and all is forgiven, while the philosophical Tony moves on to other conquests. Men Call it Love is typical of the sort of white-telephone drama in which everyone wears formal garb even in the boudoir. ~ Hal Erickson, All Movie Guide

Officially released as The New Adventures of Get-Rich-Quick Wallingford, this William Haines vehicle was snappily adapted by Charles MacArthur from the "Wallingford" short stories by George Randolph Chester. Haines of course plays the title character, a breezy con artist in league with personable pickpocket Schnozzle (who else but Jimmy Durante?) After fleecing a tourist for $25,000, Wallingford realizes that he's been swindled when the tourist's check turns out to be of rubber consistency. Just one step ahead of the law, Wallingford and Schnozzle settle in a small town, where they rescue the family of heroine Dorothy (Leila Hyams) from bankruptcy and foreclosure. Even William Haines must have been aware that the picture was effortlessly stolen by Jimmy Durante, whose second film this was. ~ Hal Erickson, All Movie Guide

Silent screen star John Gilbert had a tough time adapting to the talkies--not due to his voice, as is commonly believed, but because his type of florid romantic fare was no longer popular. Gentleman's Fate attempted to alter Gilbert's image by casting him as a bootlegger...albeit a reluctant one. A wealthy socialite, Gilbert learns to his chagrin that he has been financed by his supposedly dead father (Ernest Torrence), a notorious rum runner. Ruined socially, Gilbert joins the rackets himself, vying with his brother (Louis Wolheim) for control of the bootlegging territory. The love of a good woman (Leila Hyams) leads Gilbert to attempt to break up the racket, but he loses his life in the process. ~ Hal Erickson, All Movie Guide

Not the first of the prison pictures, but the one that truly put the genre on the map. Playboy Kent (Robert Montgomery), driving drunk, kills a couple of pedestrians and is sentenced to a 10-year manslaughter term. His cellmate is forger Morgan (Chester Morris), a tough but essentially decent con; the cell-block leader is Butch (Wallace Beery), whose outer oafishness hides a cruel, calculating mind. Butch lives for the day that he can bust out and doesn't care who gets hurt along the way. Panicking, Kent "rats" on Butch and is murdered during the climactic breakout as a consequence. Morgan behaves courageously, saving the warden (Lewis Stone) and the guards from Butch's wrath; as a reward, Morgan earns a reduced sentence and the love of Kent's sister Anne (Leila Hyams). Remarkably brutal for an MGM film, The Big House (a double Oscar winner, for best screenplay and sound recording) established not only the grimy mise-en-scene of prison life, but also a whole new glossary of slang terms and a veritable menagerie of movie "types," from the firm but kindly prison chaplain to the embittered lifer. The film was gloriously lampooned by Laurel & Hardy's Pardon Us, in which Walter Long played the Beery counterpart. ~ Hal Erickson, All Movie Guide