Arline Judge Movies

An athletic college student, the son of a steamship magnate, keeps quiet about his profession as a famous boxer until he decides to help his friends earn money for a wild summer vacation. ~ Sandra Brennan, All Movie Guide

Absent from films since 1938 (except as producer of a brace of RKO Radio features), silent-screen comedy favorite Harold Lloyd returned before the cameras in The Sin of Harold Diddlebock. The project began as a labor of love between Lloyd and the brilliant, innovative producer/writer/director Preston Sturges. Though these two comedy geniuses eventually had a stylistic falling out, resulting in an uneven, spasmodically dreary film, on the whole Harold Diddlebock is well worth having. Sturges cleverly opens the picture with the final reel of Lloyd's silent classic The Freshman(1925), in which the drudge of the college football team makes good and scores the winning touchdown. The story proper begins in the locker room, where football hero Harold Diddlebock (Lloyd, looking three decades younger than his 53 years) is impulsively offered a job by banker J.E. Wagglebury (Raymond Walburn). Taking his place at his new desk and festooning his walls with inspirational homilies, Harold starts to work, supremely confident that he's poised on the brink of bigger things. Twenty-three years pass: In 1946, a weary, stoop-shouldered Harold is still at the same desk at the same job, his dreams of success but a dim memory. Summarily fired by the pompous Wagglebury ("You have not only ceased to go forward, you have gone backward"), Harold collects his final paycheck, cleans out his desk, and bids farewell to office girl Miss Otis (Frances Ramsden), all of whose older sisters had previously been Harold's sweethearts. Wandering aimlessly on the street with his severance pay in hand, Harold is spotted by a dessicated street hustler named Wormy (Jimmy Conlin), who inveigles the newly fired clerk to join him at a nearby bar. Informed that Harold has never taken a drink in his life, the bartender (Edgar Kennedy) lights up and declares, "Sir, you rouse the artist in me!" With great ceremonial flourish, the bartender concocts a potent beverage called the Diddlebock. Harold takes one sip of the brew, lets out a yell, and immediately loses all the inhibitions that have kept him from advancing himself in the past two decades. With Wormy in tow, Harold goes on a wild spending and carousing spree, totally losing track of an entire day-and-a-half.

At the end of his revelry, the hung-over Harold is awakened by his sister (Margaret Hamilton), who informs him that he's bought a garish new wardrobe, a ten-gallon hat, and goodness knows what else. He soon finds out what else when he ventures into the street and is informed that he's bought a horse-drawn cab (with driver!) -- and a circus, complete with hungry lions. Quickly formulating a plan to get rid of the circus at a substantial profit, Harold decides to elicit bids from the town's various bankers, bringing Jackie the Lion along with him so that the bank guards won't stop him at the door. All of this leads to a wild recreation of Lloyd's skyscraper-teetering gags from his silent days, a noisy episode at the local jail, and a romantic tête-à-tête with Miss Otis, who reveals at the very end how Harold really spent his "missing" Wednesday! Though it tested well upon its first release, Sin of Harold Diddlebock was abruptly withdrawn from circulation by its co-producer Howard R. Hughes, who spent four years reediting and sometimes reshooting the film before finally releasing it through RKO as Mad Wednesday. Both this version and the original Sin of Harold Diddlebock still exist; while the earlier version is undeniably richer in comic invention and characterization, the shortened Mad Wednesday works better in front of an audience. Neither version completely fulfills the potential of its premise, however. Though not to be missed, this final Harold Lloyd vehicle pales in comparison with his vintage silent comedies. ~ Hal Erickson, All Movie Guide

In this romantic comedy, set during WW II, an newlywed army couple are unable to consummate their marriage, as on their wedding night the husband is called away to sentry duty. Later they try again, but as he has just completed a 37-mile hike, he finds himself too tired to work up any enthusiasm for conjugal bliss. Fortunately, the bride's understanding aunt intervenes with the young man's colonel and the frustrated couple is at last able to share a night of love. ~ Sandra Brennan, All Movie Guide

In this drama, a truck driver will do almost anything to keep his son in a prestigious military academy. To pay the tuition, the trucker becomes a prizefighter. Unfortunately the pugilist is drug down by booze and a gold-digging blond. His friends assist him, he makes up with his former gal, and gets together with his son who wasn't interested at all interested in attending that expensive school. ~ Sandra Brennan, All Movie Guide

Roy Rogers heads the cast of Song of Texas as a rodeo star named Roy Rogers. Quitting the rodeo operated by larcenous Jim Calvert (Barton MacLane), Roy goes into the ranching business. As a favor to his old pal, washed-up bronco buster Sam Bennett (Harry Shannon), Roy convinces Bennett's daughter Sue (Sheila Ryan) that Sam is in fact the owner of Roy's ranch. This harmless subterfuge is thwarted by the evil machinations of Calvert, but Rogers and his confreres eventually save the day. No fewer than eight songs are heard in Song of Texas, including such favorites as "Mexicali Rose" and "Moonlight and Roses". ~ Hal Erickson, All Movie Guide

Columbia Pictures evidently felt that ex-boxer "Slapsy" Maxie Rosenbloom was the funniest man on earth, despite the fact that he consistently proved otherwise in vehicles like Harvard, Here I Come. This little masterpiece finds Rosenbloom, playing himself, receiving an award from the satirical Harvard Lampoon for his well-known stupidity. Instead of being enrage, Slapsie Maxie is delighted by the "honor", and promptly tries to enroll at the ivy-league university. Upon arriving on campus, our punchy hero is pounced upon by a group of eccentric scientists led by Professor Alvin (Byron Foulger), who is convinced that Rosenbloom is the "missing link" that science has long been searching for. The professors subsidize Maxie's education, which seems to consist exclusively of fraternity hazings and product endorsements! Though a zaftig Yvonne de Carlo shows up in several publicity stills for Harvard, Here I Come, she is nowhere to be seen in the film itself; instead, the leading-lady duties were handled by Marie Wilson, whose character comes across as even dumber than Maxie Rosenbloom, if such a thing is possible. ~ Hal Erickson, All Movie Guide

Mitchell Leisen directed this romantic comedy with melodramatic overtones, starring Marlene Dietrich in a sympathetic role as famed stage star Elizabeth Madden. Elizabeth longs for motherhood but has no husband. Her desire appears to be fulfilled when she finds an abandoned baby, but she doesn't have a clue on how to raise it. She finds divorced pediatrician, Dr. Corey McBain (Fred MacMurray), to help her with the child. Elizabeth names the child after him and makes Corey an offer. Since she's single, she cannot adopt the child. But if Corey would marry her in name only, she could be the adopted mother and Corey could stay in a section of her apartment where she would support his research. Corey agrees to the deal, but it's not too long before Corey and Elizabeth fall in love. ~ Paul Brenner, All Movie Guide

Warner Baxter plays the ambitious producer of a burlesque show who rises to the big time on Broadway. Alice Faye is the loyal burleycue singer who helps make Baxter a success. His head turned by sudden fame, Baxter falls under the spell of a society woman (Mona Barrie) who has theatrical aspirations of her own. She marries Baxter, then convinces him to produce a string of "artistic" plays rather than his extravagant musical revues. The plays are flops, and the woman haughtily divorces Baxter. Faithful Alice Faye, who'd gone to London when her ex-beau was married, returns to the penniless Baxter. She and her burlesque buddies team up to pull Baxter out of his rut and put him on top again. ~ Hal Erickson, All Movie Guide

The first of 20th Century-Fox's college musicals, Pigskin Parade is also close to the best of them in musical terms -- though they were all at least pretty good on that level -- principally thanks to the presence of 13-year-old Judy Garland, playing an Arkansas farm girl with surprising sincerity and success (in addition to belting out a couple of numbers with the depth and sincerity of a performer at least twice that age). The plot starts rolling when the Yale University football team, looking for a credible but not too tough opponent for a charity game, accidentally invites the team from tiny Tesax State University (enrollment 700) instead of the University of Texas (enrollment 7500). Texas State has also just gotten a new football coach, Slug Winters (Jack Haley), who's had a lot of success coaching high school back in Flushing, New York but still has to prove himself with college players -- he arrives with his brassy, outspoken wife (Patsy Kelly) just ahead of the invitation from Yale, which nearly sends them running back to New York. Through sheer luck and Mrs. Winters' brainstorm, however, they figure out a way they can meet the Yale team on the field and not get steamrollered -- they come up with a fast, highly mobile brand of football that makes them contenders, but then they lose their star-player. Mrs. Winters manages to stumble onto Amos Dodd (Stuart Erwin), an Arkansas farm boy who developed his arm by tossing watermelons around, and brings him and his sister (Judy Garland) to the college. But now they have to make Amos -- who never finished high school -- eligible, and keep him interested enough in the team and the college to get him to the game. It's all a lot of fun, with lots of comic antics and a song spicing up the pace every few minutes, and Haley and Kelly are a delight to watch together. ~ Bruce Eder, All Movie Guide

Gladys George, a superlative actress often wasted in secondary roles, carries her starring assignment in Valiant is the Word for Carrie with singular brilliance. George plays the town trollop, who for the love of two orphaned children sets up a successful dry-cleaning business. Her past comes back to haunt her, but she perseveres, giving up all thoughts of personal happiness to provide a decent upbringing for her adopted family. A real four-hanky film, Valiant is the Word for Carrie might never have been made if it hadn't been for Mae West. Paramount had signed Gladys George to star in a filmization of her stage hit Personal Appearance, but this property was deflected to Ms. West and retitled Go West, Young Man. As compensation, Gladys George was offered Carrie--and she certainly made the most of this rebound opportunity. ~ Hal Erickson, All Movie Guide

Star for a Night is Lady for a Day in reverse. Jane Darwell plays Frau Lind, a blind Austrian woman who comes to the United States to visit her three children Nina (Claire Trevor), Anna (Evelyn Venable) and Fritz (Dean Jagger). The three siblings have written regularly to their mother, claiming that they've all become fabulously successful. The unvarnished truth is that "Broadway musical star" Nina is a minor-league chorus girl; "famed concert pianist" Anna sells sheet music in a department store; and "powerful automobile manufacturer" Fritz drives a taxi. They cook up a scheme so as not to spoil their mother's illusions, but Mom has a big surprise for them! ~ Hal Erickson, All Movie Guide

Bebe Daniels, all of 34, portrays an ageing movie star who refuses to admit she's too old for the ingenue role in an upcoming musical. Alice Faye is a hopeful chorus girl, while Ray Walker is a would-be director. All the young people get their deserved breaks when Daniels gets wise to herself and settles for a character role in the film--and also admits that the young girl (Rosina Lawrence) whom she's been passing off as her sister is really her daughter. Both Alice Faye and Bebe Daniels are given plenty of opportunities to sing and dance, which is as it should be. But Music is Magic falls short of perfection thanks to the doggedly unfunny comic relief of Frank Mitchell and Jack Durant, who may well be the worst team in motion picture history. ~ Hal Erickson, All Movie Guide