John Ince Movies

The Great Jewel Robber is based on the true story of Gerard Dennis, who during a 12-month period managed to steal more than a million dollars' worth of gems. As played by David Brian, Dennis is an incorrigible ladies' man, who uses women to help him pull off his heists. The first of his conquests, played by Claudia Barrett, pays for his escape from the Canadian authorities. The second (Perdita Chandler) is his partner in crime in Buffalo, New York. The third woman in his life, played by Marjorie Reynolds, ultimately brings about his downfall. For the sake of verisimilitude, Mayor Stanley Church of New Rochelle, Connecticut (where Dennis was finally caught) appears in the prologue as himself. ~ Hal Erickson, Rovi

With Robert Riskin as screenwriter, director William Wellman proved in Magic Town that it was possible to make a Frank Capra-esque picture without Capra himself at the helm. James Stewart plays Rip Smith, a cynical pollster who comes across a small American town named Grandview, which represents a "perfect" balance of ethnic types, professions, political beliefs, and personal opinions (a parody of the then-current "Middletown" study). Smith publicizes this discovery, leading to a barrage of media attention and an onslaught of get-rich-quick entrepreneurs. Not surprisingly, all of this has an adverse effect on the heretofore "average" citizens of Grandview; it also seriously threatens Smith's blossoming romance with local girl Mary Peterman (Jane Wyman), who feels that her friends and neighbors are being used, exploited, and in some cases, corrupted. The satirical thrust of the film bogs down into sentimentality toward the end, but it's fun while it lasts. One of the colorful supporting characters is played by screwball-comedy favorite Donald Meek, who died during production, necessitating a number of hasty and not altogether successful rewrites. Though it pleases audiences today, Magic Town was a financial disappointment in 1947, prompting James Stewart to seek out "tougher" and more challenging roles to restore his box-office appeal. ~ Hal Erickson, Rovi

Art critic and forgery expert George Steele (Pat O'Brien) is apprehended by the police as he desperately tries to break into the Manhattan Museum in the opening scene of Crack-Up, a noir mystery directed by Irving Reis. Steele does not understand his own bizarre actions, but explains that he was in a train wreck and had to get back to the museum. Questioned by Lt. Cochrane (Wallace Ford), who tells him there have been no train wrecks in months, Steele relates, in flashback, the events leading up to the incident. Earlier in the day the head of the museum had suspended him for alienating wealthy patrons by criticizing "art snobs" in a lecture. He then received a phone call informing him that his mother was sick, and caught the train to the hospital, but never got there. Though suspicious of Steele, Cochrane is persuaded by the shadowy Mr. Traybin (Herbert Marshall) to release him so he can follow Steele. The next day Steele retraces his steps and discovers that someone had set him up to be discredited, though he knows neither who nor why. Following the murder of a friend who was trying to help him, he discovers that forgeries of some very famous paintings are at the heart of the matter, but getting to the culprit is a more difficult task. ~ Steve Press, Rovi

Having briefly abandoned his standard "Nevada Jack McKenzie" characterization in Flame of the West, cowboy star Johnny Mack Brown was back as Nevada Jack in Monogram's The Lost Trail. Vowing to bring in a gang of stagecoach outlaws, Nevada redoubles his efforts when he learns that the owner of the stagecoach line is pretty Jane Burns (Jennifer Holt). Meanwhile, comic-relief Sandy (Raymond Hatton) is appointed sheriff of the town by local bigwig John Corbett (Kenneth McDonald), who hopes to deflect suspicion by turning public opinion against the new lawman. Imagine Corbett's dismay when he discovers that Sandy is actually a federal marshal, and that he's been working undercover with Nevada all along. Reviewers of The Lost Trail noted that, by 1945, former football star Johnny Mack Brown was not so much tall in the saddle as he was wide. ~ Hal Erickson, Rovi

Producer Darryl F. Zanuck had high hopes that Wilson would immortalize him in the manner that Gone With the Wind did for David O. Selznick. The notion of bringing the life story of Woodrow Wilson, 28th president of the United States, to the big screen was a labor of love for Zanuck, and accordingly the producer lavished all the technical expertise and production values he had at his disposal. Though Alexander Knox seems a bit too robust and overnourished for Wilson, his is a superb performance, evenly matched by those of Ruth Nelson as Wilson's first wife Ellen, Geraldine Fitzgerald as second wife Edith, Thomas Mitchell as Joseph Tumulty, Sir Cedric Hardwycke as Henry Cabot Lodge, Vincent Price as William Gibbs McAdoo, Sidney Blackmer as Josephus Daniels, and the rest of the film's enormous cast. The story begins in 1909, a time when Wilson is best known as the head of Princeton University and the author of several books on the democratic process. Urged into running for Governor of New Jersey by the local political machine, Wilson soon proves that he is his own man, beholden to no one-and that he is dedicated to the truth at any cost. From the governor's office, Wilson is nominated as the Democratic presidential candidate, an office he wins hands-down over the factionalized Republicans. The sweetness of his victory is soured by the death of his wife Ellen, but Wilson ultimately finds lasting happiness with Edith Galt. When World War I breaks out in Europe, Wilson vows to keep America out of the conflict, despite pressure from such political foes as Henry Cabot Lodge (who is depicted as a thoroughly unsympathetic power broker). After being elected for a second term, however, Wilson finds it impossible to remain neutral, especially in the wake of the Lusitania sinking. Reluctantly, he enters the war in April of 1917. Deeply disturbed by the mounting casualties, Wilson decides that, after the Armistice, he will press for a lasting peace by helping to organize a League of Nations. Unfortunately, the isolationist congress, urged on by Lodge and his ilk, refuses to permit America's entry into the League. His health failing, Wilson nonetheless embarks on a whistle-stop tour, imploring the public to support the League of Nations and Wilson's 12-point peace program. During this campaign, he is felled by a stroke, whereupon Mrs. Wilson begins acting as liason between the president and the rest of the country (the commonly held belief that Edith Galt Wilson virtually ran the nation during this crisis is soft-pedalled by Lamar Trotti's script). All hopes for America's joining the League of Nations are dashed when, in the 1920 election, the Republicans gain control of the White House. The film ends as the ailing but courageous Woodrow Wilson bids farewell to his staff and walks through the White House doors for the final time. Idealistically ignoring the negative elements of the Wilson regime (notably his attitudes toward racial relationships), Wilson is not so much a biography as a paean to the late president. Though too long and overproduced, the film survives as one of Hollywood's sturdiest historical films of the 1940s. However, audiences did not respond to Wilson as Zanuck had hoped; the film was a terrific flop at the box office, so much so that it was for many years forbidden to speak of the project in Zanuck's presence. Still, Wilson garnered several Academy Awards: best original screenplay, best color art direction (Wiard Ihnen), best color cinematography (Leon Shamroy), best sound recording (E. H. Hansen), best film editing (Barbara McLean) and best color set decoration (Thomas Little). ~ Hal Erickson, Rovi

In this romantic drama, an office clerk's quiet personal life is disrupted when a sick woman appears at his doorstep in desperate need of help. The kindly fellow takes her in and helps her to recover. He then discovers that she isn't sick at all; she was only trying to hide from the cops who pursue her. The fellow decides to let her stay anyway. Later, when the whole mess is straightened out, the two marry. ~ Sandra Brennan, Rovi

Magazine writer and editor Fulton Ousler's stern police commissioner Thatcher Colt came to the screen in April of 1942 courtesy of former investment broker Lester Cutler, veteran actor Sidney Blackmer, and cinematic hack William Beaudine (the latter living up to his nickname "One Shot" by assembling the whodunit within a week or so at Hollywood's Talisman Studios). Arrested for loitering in a cemetery, wigmaker and operetta company proprietor Everett P. Digberry (Byron Foulger) claims to have been lured there by a blackmailer known only as the Black Panther. But as Colt and his lieutenant, Anthony Abbott (Rick Vallin), soon discover, the paw print on the blackmail note belongs to Digberry's own pet cat and when the wigmaker's secret inamorata, Nina Politza (Gerta Rozan), is found murdered, Digberry becomes the obvious prime suspect. But then a rival wigmaker is slain and suspicion turns to bombastic tenor Enrico Lombardi (Joaquin Edwards). But is he the killer? Or did someone else do the dirty deed? Despite a rather lavish ad campaign that promised more Thatcher Colt stories in the future, The Panther's Claw marked the fictional detective's only screen appearance. ~ Hans J. Wollstein, Rovi

In this drama, a woman performs a mercy killing and ends up in jail. To clear her name, she escapes and ends up hiding out with a kindly country doctor who helps her. ~ Sandra Brennan, Rovi

The Three Mesquiteers are back in the saddle in Republic's Code of the Outlaws. In this outing, the Mesquiteers are played by Bob Steele (as Tuscon Smith), Tom Tyler (as Stony Brooke) and Rufe Davis (as Lullaby Joslin). Bennie Bartlett costars as the son of outlaw Weldon Heyburn, who refuses to inform on his dad's outlaw gang even after Heyburn is shot dead. Our three heroes try to set Bartlett on the right path-and, incidentally, attempt to round up the gang on their own. Reviewers in 1942 felt that Code of the Outlaws was one of the best "Mesquiteers" entries since the series' salad days of the late 1930s. ~ Hal Erickson, Rovi

By PRC Studios standards, Mr. Celebrity is decidedly an "all-star" picture. The title character is a prize race horse, jointly owned by veterinarian Jim Kane (James Seay) and his orphaned nephew Danny Mason (Buzzy Henry). When not tending to ailing nags, Kane struggles to prevent Danny's snobbish grandparents (William Halligan and Laura Treadwell) from gaining custody of a boy. Naturally, Kane will be able to afford to officially adopt Danny himself, if only Mr. Celebrity wins that all-important Big Race. The film's highlight is the custody-hearing sequence, in which several human celebrities of yesteryear show up as witnesses: Silent film stars Clara Kimball Young and Francis X. Bushman, both of whom reminisce about their career highlights, and former boxing champion Jim Jeffries, who recalls his glory days of the 1890s. Incidentally, leading lady Doris Day is not the 1950s box-office champ of the same name. ~ Hal Erickson, Rovi

Robert Montgomery plays saxophone-playing boxer Joe Pendleton, who insists upon piloting his own plane, much to the consternation of his manager Max Corkle (James Gleason). Just before a championship bout, Joe's plane crashes. When he revives, he finds he has been whisked away to Heaven by the overanxious Messenger #7013. Checking with the man in charge, one Mr. Jordan (Claude Rains), Pendleton discovers that he isn't scheduled to die for another 50 years. Joe heads back to earth, only to learn to his chagrin that his body has been cremated. Mr. Jordan is obliged to find Joe a new body; the "candidate" is a business mogul named Farnsworth, who is in the process of being murdered in his bath by his wife (Rita Johnson) and her lover (John Emery). Joe takes over Farnsworth's body, astonishing the murderers by emerging from the bathroom, very much alive (while Joe still looks like Joe to himself and the audience, he looks like Farnsworth to everyone else). Still desirous of winning the upcoming championship, Joe begins to whip Farnsworth's body into shape, even hiring Max Corkle to manage him. It takes some doing, but Joe convinces Max that he is indeed Joe and not Farnsworth (their scenes together are priceless, far better seen than described). Meanwhile, Joe has fallen in love with Bette Logan (Evelyn Keyes), a woman whose father had been ruined by the real Farnsworth. For her sake, he pays back millions of dollars that the crooked Farnsworth had finagled out of his investors. This prompts Mrs. Farnsworth and her lover to kill "Farnsworth" again, and once more Joe Pendleton is without a body. How Mr. Jordan arranges for Joe to win the championship, expose the murderers and walk off arm and arm with Bette is a bit too complex to detail here. Here Comes Mr. Jordan is one of the most consistently clever romantic comedies of the 1940s, and richly deserving of the Oscars won by screenwriters Sidney Buchman, Seton I. Miller and Harry Segall. A sequel, Down to Earth, was filmed in 1947, with Roland Culver as Mr. Jordan; and in 1978, the original Jordan was remade by Warren Beatty as Heaven Can Wait. ~ Hal Erickson, Rovi

Small-but-wiry Bob Steele plays the title role in the PRC western Billy the Kid's Range War. Once again rewriting history, the script contrives to have honest Billy falsely accused of a series of killings. The actual murderers are trying to sabotage an under-construction stagecoach road. Hiring on as a stage driver, Billy not only clears his name but corrals the crooks. He also exposes the brains behind the scheme, who turns out to be a supposedly respectable peacekeeper. Ubiquitous PRC cowboy sidekick Al St. John shows up in his customary role of Fuzzy Q. Jones to offer Billy some much-needed assistance. ~ Hal Erickson, Rovi

Like its predecessor The Man From Tumbleweeds, the 1940 Bill Elliot western The Return of Wild Bill was directed by Joseph H. Lewis, whose innovative choice of camera angles was always well worth watching. Returning to his home town after a long absence, Wild Bill Saunders (Elliot) discovers that his father has been mortally wounded by a gang of frontier hooligans. Adding intrigue to the proceedings is the fact that Katie Kilgore (Luana Anders), one of the film's two leading ladies (the other is Iris Meredith), is the sister of outlaw leader Matt Kilgore (George Lloyd). Seemingly a mere villainess, Katie reveals that she's a lot more complex than anyone imagines, carefully tipping off the honest cattlemen in the district whenever her brother goes on a rampage. Her curious predilection for working both sides of the fence costs Katie her life at fadeout time, but she remains in the memory far longer than any of the film's other plot contrivances. ~ Hal Erickson, Rovi