Van Johnson Movies

In this war movie, set during WW II, a pilot must crash land in the Pacific after he is shot down. As he floats upon the waves, he begins remembering the mythical island of Barbaree that his grandfather used to tell him about. To keep his wounded companion alive, he begins telling his life story. Via flashback, his youth, his love affairs, and his naval enlistment are chronicled. It is one of his lovers that talks her father into organizing a search party to find him. Meanwhile his companion dies. The pilot too, is half-dead by the time they find him. ~ Sandra Brennan, All Movie Guide

In this WWII musical, a young hero and his buddy decide to celebrate his receiving the Medal of Honor by partying. He is terribly excited about seeing his fiancée again. Unfortunately, she has fallen for another in his absence. He is later consoled by a lovely radio singer. Songs include "All the Time" (Ralph Freed, Sammy Fain, sung by Pat Kirkwood), "Isn't It Wonderful" (Kay Thompson, sung by Kirkwood), "Love on a Greyhound Bus" (Thompson, Ralph Blane, George Stoll), "It'll Be Great to Be Back Home" (Charles Martin), "Old Sad Eyes" (Irving Kahal, Fain), "When It's Love" (Edgar De Lange, Nicholas Kharito), "Oye Negra" (performed by Xavier Cugat and His Orchestra). ~ Sandra Brennan, All Movie Guide

The presence of William Powell as legendary showman Flo Ziegfeld at the beginning of Ziegfeld Follies might lead an impressionable viewer from thinking that this 1946 film is a Technicolor sequel to the 1936 Oscar-winning The Great Ziegfeld. Not so: this is more in the line of an all-star revue, much like such early talkies as Hollywood Revue of 1929 and Paramount on Parade. We meet a grayed, immaculately garbed Ziegfeld in Paradise (his daily diary entry reads "Another heavenly day"), where he looks down upon the world and muses over the sort of show he'd be putting on were he still alive. Evidently Ziegfeld's shade has something of a celestial conduit to Metro-Goldwyn-Mayer studios, since his "dream" show is populated almost exclusively by MGM stars. Vincente Minnelli is given sole directorial credit at the beginning of the film, though many of the individual "acts" were helmed by other hands. The Bunin puppets offer a tableau depicting anxious theatregoers piling into a Broadway theatre, as well as caricatures of Ziegfeld's greatest stars. The opening number, "Meet the Ladies", spotlights a whip-wielding (!) Lucille Ball, a bevy of chorus girls dressed as panthers, and, briefly, Margaret O'Brien. Kathryn Grayson and "The Ziegfeld Girls" perform "There's Beauty Everywhere." Victor Moore and Edward Arnold show up in an impressionistically staged adaptation of the comedy chestnut "Pay the Two Dollars". Fred Astaire and Lucille Bremer (a teaming which evidently held high hopes for MGM) dance to the tune of "This Heart is Mine." "Number Please" features Keenan Wynn in an appallingly unfunny rendition of an old comedy sketch (performed far better as "Alexander 2222" in Abbott and Costello's Who Done It?) Lena Horne, strategically placed in the film at a juncture that could be edited out in certain racist communities, sings "Love". Red Skelton stars in the film's comedy highlight, "When Television Comes"-which is actually Skelton's classic "Guzzler's Gin" routine (this sequence was filmed late in 1944, just before Red's entry into the armed services). Astaire and Bremer return for a lively rendition of "Limehouse Blues". Judy Garland, lampooning every Hollywood glamour queen known to man, stops the show with "The Interview". Even better is the the historical one-time-only teaming of Fred Astaire and Gene Kelly in "The Babbitt and the Bromide". The excellence of these sequence compensate for the mediocrity of "The Sweepstakes Ticket", wherein Fanny Brice screams her way through a dull comedy sketch with Hume Cronyn (originally removed from the US prints of Ziegfeld Follies, this sequence was restored for television). Excised from the final release print (pared down to 110 minutes, from a monumental 273 minutes!) was Judy Garland's rendition of "Liza", a duet featuring Garland and Mickey Rooney, and a "Baby Snooks" sketch featuring Fanny Brice, Hanley Stafford and B. S. Pully. A troubled and attenuated production, Ziegfeld Follies proved worth the effort when the film rang up a $2 million profit. ~ Hal Erickson, All Movie Guide

Weekend at the Waldorf is an unabashed remake of MGM's 1932 Oscar-winner Grand Hotel: in fact, at several points in the story, the cast makes pointed references to the earlier film. The posh Waldorf Hotel in the heart of New York is the setting for several plots and subplots. Ginger Rogers plays the Garbo counterpart, a successful but severely depressed movie star who wants to be alone. Walter Pigeon steps into John Barrymore's role, sort of; whereas Barrymore was a thief posing as nobility, Pigeon is a war correspondent posing as a thief. Hotel stenographer Lana Turner (originally Joan Crawford) latches onto tycoon Edward Arnold (originally Wallace Beery) in hopes of a life of luxury. And, in the film's biggest adaptation stretch, Van Johnson is cast as a war hero who, about to undergo life-threatening surgery, wants to thoroughly enjoy what may be his last days on earth. It takes a while to figure this out, but Johnson is supposed to be the character played in Grand Hotel by Lionel Barrymore: the meek clerk who, upon discovering that he's dying, blows his life savings on one last fling. On the whole, Weekend at the Waldorf is a lot more light-hearted than Grand Hotel, as indicated by the expository character played by humorist Robert Benchley, not to mention the presence of Xavier Cugat as the Waldorf's orchestra leader. ~ Hal Erickson, All Movie Guide

MGM's popular Dr. Kildare series spanned 1938-47. Lew Ayres played the title character, but parted in 1942. Though crusty and craggly Lionel Barrymore, portrayed Dr. Gillespie (one of {%Kildare's contemporaries at Blair General Hospital)) from the beginning of the series, he initially came second billed, and only received first billing in the six films that followed Ayres's departure, thus becoming the central character. 1944's Three Men and White marks the fourth such instance. As in prior entries, the premise of Three Men revolves around Gillespie solving medical mysteries and fixing romantic problems. Here, Gillespie is forced to decide between Keye Luke (as Dr. Lee Wong How) and Van Johnson (as Dr. Randall Adams) as his new assistant. To make the call, he assigns a medical case to each. Wong How must help a child overcome his allergy to sugar; Johnson must work a female patient through 'insurmountable' arthritis. ~ Nathan Southern, All Movie Guide

The White Cliffs of Dover is one of those overlong MGM wartime films that everyone seems to have seen a part of, but no one can remember the film as a sum total. Based on a poem by Alice Duer Miller, the story chronicles the trials and tribulations of one courageous woman through two world wars. Irene Dunne plays an American girl who, in 1914, falls in love with titled Englishman Alan Marshal. At the end of World War 1 in 1918, it is painfully clear that Marshal will not be returning from the battlefields. Remaining loyal to her husband, Irene vows to raise their child in England. Played by Roddy McDowell in his early scenes, Irene's son grows up to be Peter Lawford. At the outbreak of World War 2, Irene despairs at the thought of losing another loved one, but Lawford convinces her that his dad would have wanted him to answer his country's call to the colors. While working as a Red Cross volunteer, Irene finds that she must tend her own mortally wounded son. Unable to save his life, she is grief-stricken, but is gratified with the notion that neither her husband nor her boy have died in vain. Like many films of its ilk and era, White Cliffs of Dover struck a responsive chord with filmgoers, to the tune of a $4 million profit. Watch for a touching scene between Roddy McDowell and 12-year-old Elizabeth Taylor; 19 years later, lifelong friends Roddy and Liz would be playing mortal enemies in Cleopatra (1963). ~ Hal Erickson, All Movie Guide

The oft-used movie title Between Two Women was resurrected once more for this entry in MGM's "Dr. Kildare" series. Though Kildare is nowhere to be found, Lionel Barrymore is very much in evidence as Dr. Leonard Gillespie, crusty chief surgeon of Blair General Hospital. Gillespie's assistant is Dr. Red Adams (Van Johnson), who spends the early part of the film fending off the romantic advances of social worker Ruth Edley (Marilyn Maxwell)-a carryover subplot from the previous "Kildare" entry Three Men in White. Adams is also romantically involved with ailing socialite Cynthia Grace (Lucille Bremer), who suffers from a life-threatening blood clot. As the story draws to a close, Adams must choose between a lucrative practice in the Big City, or a lower-paying but more professionally rewarding post in a small town. Here's a hint to the outcome: in the next (and last) "Kildare" film, Dark Delusion, Gillespie's assistant is played by James Craig. ~ Hal Erickson, All Movie Guide

Greer Garson and Walter Pidgeon team for the third time in this fact-based biography directed by Mervyn Leroy, based on Eve Curie's book about her mother. In early 1900s Paris, poor Polish student Marie (Greer Garson) gets a chance to study magnetism with kindly professor Jean Perot (Albert Basserman). Perot also arranges for the shy scientist Pierre Curie (Walter Pidgeon) to share the lab with Marie. As they work together, Pierre and Marie fall in love. Pierre eventually musters up the courage to ask her to marry him, and she accepts. After their honeymoon, Marie becomes obsessed with a piece of pitchblende that has been displaying some peculiar properties. After five years of work, Marie discovers radium. But as the years go on, Marie and Pierre struggle to raise money to continue their research, hoping to one day be able to isolate radium from the pitchblende. ~ Paul Brenner, All Movie Guide

Author William Saroyan's corn-shucking brand of sentimentality works wonders in this 1943 filmization of his novel. Narrator Ray Collins is dead before the film begins; thus he is able to provide an all-seeing overview of the tiny community of Ithaca, California. The principal character, played by Mickey Rooney, is Collins' son; as the delivery boy for the local telegraph office, Rooney keeps in close contact with virtually every family in town, which results in several comic and poignant moments. Rooney's older brother Van Johnson is in uniform, off fighting World War II; his sister Marcia Hunt is the erstwhile sweetheart of telegraph-office supervisor James Craig. The "circle of life" concept that unifies the anecdotal plotline is best illustrated by the film's final image: after Johnson dies in battle, his best friend, parentless John Craven, is more or less adopted by Collins' family. Reportedly, The Human Comedy was MGM chief executive Louis B. Mayer's favorite film, an apotheosis of Mayer's devotion to "family values." Among the many small-part players populating Human Comedy are Barry Nelson, Robert Mitchum, Don DeFore, Jay Ward (later the producer of Rocky and His Friends) and Carl "Alfalfa" Switzer. ~ Hal Erickson, All Movie Guide

On the verge of a nervous breakdown, Dr. Leonard Gillespie (Lionel Barrymore) realizes that it's time to appoint a new assistant to replace young Dr. Kildare. Gillespie is obliged to choose from three highly qualified candidates: Dr. Randall "Red" Adams (Van Johnson), Dr. Lee Wong How (Keye Luke), and Dr. Dennis Lindsay (played by future director Richard Quine). To test their mettle, he gives all three interns a chance to diagnose a separate delicate case. Though the results aren't quite to Gillespie's liking, the ending is "open" enough to suggest that at least two of the three candidates will be around for the next series entry, Dr. Gillespie's Criminal Case. Side note: Dr. Gillespie's New Assistant co-stars Richard Quine and Susan Peters were married in 1943. ~ Hal Erickson, All Movie Guide

Unable to convince their isolationist New York editor (Charles Dingle) that America must be alerted to the threat of encroaching Nazism, pugnacious war correspondents Johnny and Kirk Davis (Clark Gable and Robert Sterling) are relieved of their European assignments. Back in the USA, Johnny inagurates a rogueish flirtation with Paula Lane (Lana Turner), an aspiring reporter who has harbored a long-standing crush on Johnny. Even so, Paula enters into a romantic relationship with Kirk, prompting Johnny to break up the affair-for Kirk's own good, of course. Paula's hopes for a lasting romance with Johnny are crushed when he refuses to discourage her from accepting an assignment in IndoChina. Later on, both Johnny and Kirk are sent off to cover the war in the Far East, where they are reunited with Paula, now busily shepherding Chinese war orphans to safety. The action moves to Bataan, where Kirk is killed in service of his country, leaving Johnny to write a passionate tribute to his brother-and, by extention, everyone else who has lain down his or her life for the cause of Democracy. During production of Somewhere I'll Find You, Clark Gable's actress-wife Carole Lombard was killed in a plane crash while participating in a war-loan drive; the impact of the tragedy is painfully obvious in Gable's performance, which becomes abruptly less playful and more somber in the final reels. New MGM recruits Van Johnson and Keenan Wynn make impressive appearances in uncredited roles. ~ Hal Erickson, All Movie Guide

Now immortalized as the film on which Lucille Ball and Desi Arnaz met, Too Many Girls is a faithful adaptation of the Richard Rodgers-Lorenz Hart-George Abbott Broadway musical hit. The light-as-a-feather plotline finds four football players hired to escort dizzy heiress Connie Casey (Lucille Ball) when she goes off to attend a southwestern college. The girls far outnumber the boys on campus, which is sheer ambrosia for the four "protectors": Clint Kelly (Richard Carlson), Jojo Jordan (Eddie Bracken), Cuban exchange student Manuelito (Desi Arnaz) and Al Terwilliger (Hal LeRoy). The order of billing should indicate who ends up romancing the icy Connie, but the other boys don't go home empty-handed either, not with such cuties as Pepe (Ann Miller) and Eileen (Frances Langford) around. As was customary in collegiate musicals of the era, the whole thing ends with the Big Football Game, with the four heroes emerging triumphant. It doesn't take a microscope to spot a young Van Johnson among the chorus boys, especially since he shows up on-screen even before the opening credits! ~ Hal Erickson, All Movie Guide