Olaf Hytten Movies

Cult figure and B-movie auteur Joseph H. Lewis directed this taut exercise in film noir. Julia Ross (Nina Foch), an American receiving medical treatment in London, finds herself short on money and takes a job as secretary for Mrs. Hughes (May Whitty), the matriarch of a large estate. Julie meets Mrs. Hughes' son Ralph (George Macready), a mysterious gentleman with a facial scar, shortly before eating lunch and falling into a deep sleep. When she awakes, she's in a different home with a high fence, and everyone around her insists that she's Ralph's wife, just home after a stay in a mental institution. My Name Is Julia Ross was one of Lewis' first "prestige" productions; begun as a ten-day B-picture, studio heads were so impressed with the results that they expanded the schedule by eight days to give the picture more polish. ~ Mark Deming, All Movie Guide

The first of two Monogram comedy-mysteries built around the talents of perky Jean Parker, Detective Kitty O'Day casts Parker in (what else?) the title role. A switchboard operator who aspires to be a sleuth, Kitty insists upon being in on the investigation when her boss is murdered. This causes no end of headaches for Kitty's boyfriend Johnny Jones (Peter Cookson, in his first major screen role). Tim Ryan, who doubled as screenwriter, is seen as Inspector Miles, who strongly suspects that Kitty herself was the murderer. The film's economies are evident when the dead bodies begin piling up and dummies are substituted for the corpses. More frantic than funny, Detective Kitty O'Day did well enough at the box-office to warrant a decidedly superior sequel, The Adventures of Kitty O'Day. ~ Hal Erickson, All Movie Guide

Edmund Lowe was old enough to know better when he starred in the anachronistic Monogram crime comedy Oh, What a Night! Lowe plays Rand, a suave gentleman jewel thief who plans to divest clueless dowager Lil Vanderhoven (Marjorie Rambeau) of her diamonds. Complicating matters is the appearance of Rand's young niece Valerie (Jean Parker), who has no idea what her uncle is up to. Rand's efforts to hide his profession from Valerie, and to successfully pull off the heist, makes for a hectic seven reels. Oh, What a Night! tries hard, but, after all, Monogram wasn't MGM, and Edmund Lowe wasn't William Powell. ~ Hal Erickson, All Movie Guide

The Lodger was the third film version of Mrs. Marie Belloc-Lowndes' classic "Jack the Ripper" novel, and in many eyes it was the best (even allowing for the excellence of the 1925 Alfred Hitchcock adaptation). Laird Cregar stars as the title character, a mysterious, secretive young man who rents a flat in the heart of London's Whitechapel district. The Lodger's arrival coincides with a series of brutal murders, in which the victims are all female stage performers. None of this fazes Kitty (Merle Oberon), the daughter of a "good family" who insists upon pursuing a singing and dancing career. Scotland Yard inspector John Warwick (George Sanders), in love with Kitty, worries about her safety and works day and night to solve the murders. All the while, Kitty draws inexorably closer to The Lodger, who seems to have some sort of vendetta on his mind?..Some slight anachronisms aside (for example, the villain falls off a bridge that hadn't yet been built at the time of the story), The Lodger is pulse-pounding entertainment, with a disturbingly brilliant performance by the late, great Laird Cregar. ~ Hal Erickson, All Movie Guide

While younger, handsomer actors were off fighting WW2, pudgy, middle-aged James Dunn suddenly found himself playing leading roles again. In Leave It to the Irish, Dunn is cast as private investigator Terry Moran, with Wanda McKay as his peppery assistant Nora O'Brien. The Hibernian hero and heroine join forces to solve the murder of a wealthy furrier. Alas, the trail of evidence leads to Terry as the most likely suspect, compelling Nora to simultaneously solve the case and clear her boss. Practically the only character in Leave It to the Irish who isn't Irish is principal villain Maletti, played by Jack LaRue. ~ Hal Erickson, All Movie Guide

More so than most wartime films, Mission to Moscow must be viewed within the context of its times. Requested by President Roosevelt to make a film supportive of America's Russian allies, Warner Bros. turned to the memoirs of Ambassador Joseph H. Davies, who spent several years prior to WWII in the Soviet Union. As played by Walter Huston, Davies is a pillar of incorruptable integrity, reporting the facts "as I saw them" (only in later years was Davies revealed to be something less than a paragon of virtue who was willing to alter opinions for political, personal and financial expedience). Sent to Moscow by FDR as a means of finding out if Russia is a potentially trustworthy ally in case of war, Davies and his family are given the royal treatment by the Commissars, who display the social, technological, agricultural and artistic advances made under the Stalin regime. Invariably, the Russian citizens are shown to be singing, smiling, freedom-loving rugged individuals-in contrast to the Nazis, who are depicted as humorless automatons. In its efforts to present the USSR in the best possible light, the film glosses over the notorious Purge Trials of 1937, presenting the trials as scrupulously fair and the defendants as unabashed traitors to the Soviet cause. At one point, Russia's annexation of Finland in 1939 is "justified" by Davies' explanation that the Soviets merely wanted to protect their tiny neighbor from Nazi domination! It is unfair to label Mission to Moscow as Communistic or even left-wing, since it was merely parroting the official party line vis-a-vis US/Soviet relations in 1943. Even so, screenwriter Howard Koch found it very difficult to get film work after the war because of his contributions to this "Pinko" project (conversely, Jack Warner pulled a Pontius Pilate, washing his hands of the matter by insisting that he was strongarmed into making the film). Seen objectively, Mission to Moscow is top-rank entertainment, superbly and excitingly assembled in the manner typical of Warners and director Michael Curtiz. The huge cast includes Gene Lockhart as Molotov, attorney Dudley Field Malone as Winston Churchill, Maynart Kippen as a benign, pipe-smoking Stalin, Charles Trowbridge as Secretary Cordell Hull, Leigh Whipper as Hailie Selassie, Georges Renavent as Anthony Eden and Alex Chirva as Pierre Laval, along with the more familiar faces of Ann Harding (as Mrs. Davies), George Tobias, Eleanor Parker, Moroni Olsen, Minor Watson, Jerome Cowan, Duncan Renaldo, Mike Mazurki, Frank Faylen, Edward van Sloan, Louis-Jean Heydt, Monte Blue, Robert Shayne and even Sid (sic) Charisse. Original prints of Mission to Moscow include a 6-minute prologue delivered by the real Joseph Davies. ~ Hal Erickson, All Movie Guide

There are those who consider Sherlock Holmes Faces Death to be the best of Universal's Holmes series, though others hold out for 1944's The Scarlet Claw. Based loosely on Conan Doyle's The Musgrave Ritual, the plot finds Holmes (Basil Rathbone) and Watson (Nigel Bruce) being summoned to the Musgrave estate when several mysterious murders occur. By the time the mystery is solved, Sally Musgrave (Hillary Brooke), young mistress of the estate, has decided to donate her property to "the people" as part of the war effort, cuing another of Holmes' patriotic curtain speeches. The best moment occurs when Holmes suddenly realizes that the floor of Musgrave castle resembles a huge chess board -- a clue vital to the ultimate solution of the case. Peter Lawford shows up unbilled as an inebriated sailor. ~ Hal Erickson, All Movie Guide

Lucky Jordan (Alan Ladd) is a tough but good-natured New York racketeer who tries to finagle his way out of Army service. Despite his efforts, Jordan is drafted, but soon goes AWOL, with a lovely USO worker (Helen Walker) dogging his heels. She tries to arouse Jordan's patriotism, but he is unmoved until a gang of enemy spies beat up an old lady con artist (Mabel Paige) whom Lucky regards as a surrogate mother. Using his underhanded "street smarts," Jordan rounds up the spies and agrees to complete his military servitude. Lucky Jordan was one of several wartime films in which otherwise larcenous individuals are redeemed by channelling their talents for the good of Uncle Sam. ~ Hal Erickson, All Movie Guide

This espionage drama, a remake of the 1935 original, set in WW II, follows the exploits of an Englishman who kills his German look-alike, a Nazi master spy, and begins impersonating him after he returns to Great Britain. As the spy, he begins smuggling bogus secrets to the German agents. As he again returns to Germany, those spies are captured. After suffering a close call, the phony spy is able to convince Rudolph Hess to fly to Scotland to meet with British Nazis. It is a trap, and the prominent Nazi is captured and held in the Tower of London. ~ Sandra Brennan, All Movie Guide

With America's Air Force not completely mobilized in mid-1942, Universal paid tribute to those foresighted Yankee flyboys who joined England's Royal Air Force before America's entry into WW2 in Eagle Squadron. Robert Stack stars as Chuck Brewer, one of several US flyers participating in RAF bombing raids of Germany. The film stresses the importance of hands-across-the-sea teamwork in this massive undertaking, concluding with Brewer leading his British compatriots on a Commando raid behind enemy lines, the better to capture a revolutionary new Nazi war plane. Every so often, the story slows to a walk as Brewer romances British lass Anne Partridge, played by the unfortunate Diana Barrymore in her last truly important screen role. Producer Walter Wanger made special arrangements with the British government to incorporate several exciting shots of authentic air battles in the film's 108 minutes. ~ Hal Erickson, All Movie Guide

Universal's "Frankenstein" series descended from the "A" to the "B" category with The Ghost of Frankenstein, though production values were still well above average and the cast is first-rate. The story picks up where Son of Frankenstein (1939) left off, with both the Monster (Lon Chaney Jr.) and his crazed companion Igor the shepherd (Bela Lugosi) being chased out of the village of Frankenstein by the irate citizens (actually both Monster and Igor had been killed at the end of Son of Frankenstein, but that's neither here nor there). The gruesome twosome head to the tiny Balkan community where dwells the son (Sir Cedric Hardwycke) of the original Dr. F. At the urgings of both Igor and the disgraced Doctor Bohmer (Lionel Atwill), Frankenstein Jr. is coerced into repeating his father's experiment of placing a fresh brain in the head of the monster. Seeking vengeance against his enemies, Igor wants to have his own brain grafted into the Monster's skull, but the big lug himself has other ideas: having befriended cute little Cloestine (Janet Ann Gallow), the only person in the village who doesn't fear him, the Monster insists upon receiving Cloestine's brain. In the end, however, Dr. Frankenstein goes with Igor's graymatter-and the result is disaster for practically everyone in the cast. Highlights of this 68-minute scarefest include Lionel Atwill's outraged reaction when he is reminded of the "slight miscalculation" that ruined his medical career, and the uncredited appearances of several "Frankenstein" movie veterans, including Dwight Frye, Holmes Herbert and Lionel Belmore. ~ Hal Erickson, All Movie Guide

Eric Knight's wartime novel This Above All was given the Tiffany treatment in the this 20th Century Fox big-budgeter. Tyrone Power plays Clive Briggs, a conscientious objector from humble origins, who deserts the British Army because he doesn't believe in fighting to preserve his country's oppressive class structure. But Briggs is no coward, and he performs admirably in rescuing air-raid victims. Through the love of Prudence Cathaway (Joan Fontaine), a doctor's daughter and member of the women's air corps, Briggs realizes that love of country supersedes all social outrage. This Above All ends with Briggs seriously wounded, though given a good chance to survive. In the original novel, the hero not only dies, but also has a censor-baiting love affair with the Prudence character (who, of course, is as pure as the driven snow in the film). ~ Hal Erickson, All Movie Guide

In this lighthearted musical comedy, Marjory Stuart (Mary Martin) is a girl who works in the hatcheck room at a Manhattan nightclub and dreams of being a rich socialite herself. Toward that end, Marjory wants to land a rich husband, so she saves up her money and takes a cruise to the Caribbean, where she poses as wealthy debutante. Marjory quickly makes friends with Bubbles Hennessy (Betty Hutton), a brassy but good-natured singer who's on board to rendezvous with her boyfriend Wally Case (Eddie Bracken). Tagging along with Wally is his pal Pete Hamilton (Dick Powell), a beach bum with charm and personality but no bankroll. Bubbles, Wally, and Pete soon realize that Marjory is hardly a member of the upper crust, but they like her enough to help her snag the man she has her eye on, stiff-as-a-board millionaire Alfred Monroe (Rudy Vallee). However, just as Marjory begins making progress with Alfred, she and Pete begin to realize that they've fallen in love. Both Betty Hutton and Mary Martin sing several songs along the way (Hutton's standout number, "Murder, He Says," later found it's way into Woody Allen's Crimes and Misdemeanors), and legendary calypso performer Sir Lancelot performs "Ugly Woman" (later a hit for Jimmy Soul under the title "If You Want To Be Happy"). Hutton and Bracken were reunited a year later in the Preston Sturges classic The Miracle of Morgan's Creek. ~ Mark Deming, All Movie Guide