Armand Kaliz Movies

All that MGM's Ziegfeld Girl lacks is Technicolor; otherwise, the film has talent and "sock" entertainment value in abundance. The story focuses on three showbiz hopefuls-Judy Garland, Hedy Lamarr and Lana Turner-and the efforts to attain the lofty status of "Ziegfeld Girl." Garland is compelled to leave her family vaudeville act; she bids her dad Charles Winninger a tearful farewell, and later falls in love with Turner's brother Jackie Cooper. In her bid for success, Lana forgets all about her faithful boyfriend James Stewart, who turns to bootlegging to come up to the financial stature of Lana's new beau, socialite Ian Hunter. Lamarr nearly dumps her impoverished violinist husband Philip Dorn as she climbs the ladder of success. There are happy endings in store for two of the three female leads, but we'll let you watch the film yourselves to find out who wins and who loses. Featured in the cast are Tony Martin, Edward Everett Horton, Eve Arden, Dan Dailey, and, in a poignant cameo as a wardrobe woman, the "ever popular" Mae Busch. Song highlights include "Minnie from Trinidad", "You Never Looked So Beautiful Before", "I'm Always Chasing Rainbows", "Laugh? I Thought I'd Split My Side", "Caribbean Love Song", "Whispering", "Mr. Gallagher and Mr. Shean" (performed by Charles Winninger and the surviving half of the Gallagher-and-Shean duo, Al Shean-who happened to be the Marx Bros.' uncle), "You Stepped Out of a Dream" and "You Gotta Pull Strings." ~ Hal Erickson, All Movie Guide

Edward G. Robinson plays orchid-loving gangster Little John Sarto, who aspires to "real class." During a power struggle with usurping mobster Jack Buck (Humphrey Bogart), Sarto is taken for a one-way ride, but he escapes his would-be assassins and hides out in a monastery overseen by Brother Superior (Donald Crisp). Sarto insists that he'd like to become a monk himself, but in fact he's using the monastery as a hideout, the better to mount his counterattack against Buck. Eventually Sarto's resolve is weakened by the kindness of the monks, and he decides to turn over a new leaf. He sees to it that Buck is brought to justice, and also fixes up his true-blue "moll," Flo Addams (Ann Sothern), with good-hearted Texas rancher Clarence Fletcher (Ralph Bellamy). (News flash! Bellamy gets the girl for once!) Sarto, now known as "Brother Orchid," returns to the monastery for good, declaring that he's finally found the real class. Though Edward G. Robinson didn't want to play another gangster, he agreed to star in Brother Orchid in exchange for being allowed to essay the lead in Warner Bros.' historical drama A Dispatch From Reuter's (1940). ~ Hal Erickson, All Movie Guide

Paramount's screwball comedy Midnight is the first collaboration between director Mitchell Leisen and screenwriting duo Charles Brackett and Billy Wilder. The film merges Brackett and Wilder's early emphasis on repartee and masquerade with ex-costume designer Leisen's flair for high style and sophistication. American Eve Peabody (Claudette Colbert), a wily ex-showgirl, must impersonate Hungarian royalty in order to infiltrate the Parisian jet set. Midnight begins during a midnight rainstorm as Eve arrives penniless at Paris' Gare de L'Est, owning only the gold lamé gown on her back. She attracts the attention of Hungarian cab driver, Tibor Czerny (Don Ameche), but walks out on their budding romance; Eve will no longer make the mistake of dating for love rather than money. Instead, she finds shelter from the downpour by crashing a socialite's late-night soirée using a pawnticket and a pseudonym, the Baroness Czerny (the cab driver's surname). There, Eve meets aristocrat Georges Flammarion (John Barrymore), who entices her with a place in society if she agrees to remain disguised as the Baroness and seduce his wife's playboy lover. Meanwhile, Tibor Czerny has not given up his search for Eve. When he locates her whereabouts and discovers the fact that she is using his name, Tibor also travels to the Flammarion estate -- to win back Eve, and to pose as her husband, the Baron. What ensues is quintessential screwball comedy, full of deception, love, quadruple entendre, and outright farce. Midnight remains Leisen's most heralded directorial effort, as well as one of Brackett and Wilder's earliest successes. ~ Aubry Anne D'Arminio, All Movie Guide

Pat O'Brien is his usual likably obnoxious self in the Warner Bros. newspaper yarn Off the Record. While trying to smash a numbers racket, star reporter Breezy Elliot (O'Brien) takes tough young numbers-runner Mickey Fallon (Bobby Jordan) under his wing. The kid gets a job as a copy boy, earning the enmity of one and all because of his inability to keep his fists to himself. Mickey redeems himself-and, by extension, Breezy-when he engineers the capture of his gangster brother Joe Fallon (Alan Baxter). The romantic angle is handled by Breezy's gal Friday Jane Morgan (Joan Blondell), who eventually agrees to marry the hero only if he adopts the troublesome Mickey as his son (gee, things were so much simpler in the movies!) ~ Hal Erickson, All Movie Guide

"Garbo Laughs!" declared the ads for Ninotchka. In the face of dwindling foreign revenues, MGM decided to put Greta Garbo, a bigger draw in Europe than the US, in a box-office-savvy comedy, engaging the services of master farceur Ernst Lubitsch to direct. The film opens in Paris during the aftermath of the Russian revolution. A trio of Russian delegates (Sig Rumann, Felix Bressart, and Alexander Granach) are sent to Paris to sell the Imperial Jewels for ready cash. Grand Duchess Swana (Ina Claire), who once owned the jewels, sends her boyfriend Count Leon (Melvyn Douglas) to retrieve the diamonds, and he turns the trio into full-fledged capitalists, wining and dining them all through Paris. Moscow then dispatches the humorless, doggedly loyal Comrade Ninotchka (Garbo) to retrieve both the prodigal Soviets and the gems. When Leon turns his charm on Ninotchka, she regards him coldly, informing him that love is merely a "chemical reaction." Even his kisses fail to weaken her resolve. Leon finally wins her over by taking an accidental fall in a restaurant, whereupon Ninotchka laughs for the first time in her life. She goes on a shopping spree and gets drunk, while Leon begins falling in love with her in earnest. As a bonus to the frothy script, by Billy Wilder and others, and its surefire star power, Ninotchka features what is perhaps Bela Lugosi's most likeable and relaxed performance. ~ Hal Erickson, All Movie Guide

This Hollywood remake of the French Pepe le Moko adheres so slavishly to its source that it utilizes stock footage from the original film, and even picked its actors on the basis of their resemblance to the French cast. Contrary to legend, star Charles Boyer never says "Come wizz me to zee Casbah"; as master criminal Pepe le Moko, he's already in the Casbah, a crook-controlled safe harbor which protects Pepe from the French authorities. Pepe's friendly enemy, police inspector Joseph Calleia, treats his pursuit of Pepe like a chess game, patiently waiting for his opponent to make that one wrong move. The ever-careful Pepe has the misfortune to fall hopelessly in love with tourist Hedy Lamarr (in her first American film). A combination of events, including the betrayal of Pepe by his castaway lover Sigrid Gurie and Hedy's tearful return to her ship when she is misinformed that Pepe is killed, lures the hero/villain into the open. Arrested by Calleia, Pepe begs for one last glance at his departing sweetheart. At this point in the French version, Pepe cheated the hangman by killing himself; this would never do in Production Code-dominated Hollywood, so Algiers contrives to have Pepe shot while trying to escape. Algiers was remade in 1948 as a musical, Casbah, starring Tony Martin. ~ Hal Erickson, All Movie Guide

Nobody really takes a Vacation from Love in this MGM programmer, though it's not from lack of trying. Dennis O'Keefe and Florence Rice star as young marrieds Bill and Patricia Blair. Have left her family's wealth behind to struggle along on Bill's salary, Patricia comes to regret her decision when her husband immerses himself in his work, totally neglecting his domestic life. The couple separates, with every intention of finalizing the split in divorce court. Despite formidable opposition from handsome Mark Shelby (Truman Bradley) and gorgeous Flo Heath (June Knight), Bill and Patricia finally realize that they're still in love with each other, and only with each other. The obviousness of the storyline is leavened somewhat by the sparkling supporting-player contributions of Reginald Owen, Ed Brophy and the ineffable Herman Bing. ~ Hal Erickson, All Movie Guide

In this musical comedy of errors, David Brassard, Sr. (William Collier, Sr.) has his heart stolen from him by a conniving, gold-digging nightclub singer named Josette (Tala Birell). Brassard's two sons, Pierre (Robert Young) and David Junior (Don Ameche) are both horrified and vow to lure the temptress away from their dad. However, they somehow become convinced that the woman in question is Renee LaBlanc (Simone Simon), who is merely posing as a chanteuse in order to help out her friend Barney Barnaby (Bert Lahr), whose nightspot is in trouble. In time, Pierre and David Junior both realize that they've been chasing the wrong woman -- but they also realize that they've both fallen in love with her. The supporting cast includes William Demarest and Lon Chaney, Jr., the latter only a year before One Million B.C. would reshape his career and make him a star of horror and science fiction films. ~ Mark Deming, All Movie Guide

The last and least of Warner Bros.' Gold Diggers musicals, Gold Diggers in Paris at least has the novelty of a Gallic setting. The stars this time are Rudy Vallee, Rosemary Lane, and Warners musical perennial Hugh Herbert. There aren't really any "gold diggers" (i.e. young ladies on the prowl for rich husbands), merely a troupe of stranded nightclub chorines whom Vallee passes off as a ballet troupe in order to win an international prize. Busby Berkeley's choreography is far from his best, especially since he's dealing with real dancers this time instead of geometrically arranged nonmoving bodies. The one song of note is "The Latin Quarter," later put to excellent use in countless Bugs Bunny and Pepe Le Pew cartoons. ~ Hal Erickson, All Movie Guide

Groucho Marx received co-writer credit (along with his old friend Norman Krasna) for King and the Chorus Girl, though very little Marxian wit is in evidence. What remains is a fun but forgettable comedy about a European monarch (Fernand Gravet) who woos and wins a down-to-earth American chorine (Joan Blondell) who works at the Folies Bergere. Edward Everett Horton and Jane Wyman (fifth-billed) provide comic relief as the respective best friends and severest critics of the leading players. The film had a topical edge in that it was released the year after Britain's King Edward renounced his throne for American divorcee Wallis Warfield Simpson. Significantly, King and the Chorus Girl was released in England as Romance is Sacred, effectively downplaying the touchy "royal" angle. ~ Hal Erickson, All Movie Guide

Screenwriter Preston Sturges never lets the facts get in the way of a good story in this colorful filmed biography of turn-of-the-century millionaire Diamond Jim Brady. The hearty Edward Arnold stars as Brady, who parlays a small-time railroad supply firm into a thriving financial empire. Once he's in the chips, Diamond Jim indulges in his every whim, lavishing his money on wine, women, song and food -- lots and lots of food. Alas, for all his business acumen, he is never able to find true romance, striking out twice with coquettish Emma (Jean Arthur) and her more sedate look-alike Jane (also Jean Arthur). Along, the way, Diamond Jim also has a casual fling with the fabulous Lillian Russell (Binnie Barnes), but theirs is more a friendship than an affair. Having paid no attention to the truth throughout the film, writer Sturges felt no need to accurately portray Brady's ultimate demise, so he borrows a page from the old George Arliss vehicle Old English by having Diamond Jim deliberately eat himself to death. Edward Arnold would repeat his Diamond Jim Brady characterization opposite Alice Faye in 1940's Lillian Russell. ~ Hal Erickson, All Movie Guide