Edward Keane Movies

'Til We Meet Again is an inflated remake of 1932's One Way Passage. As in the original, the hero is a convicted murderer en route to the death house by way of a merchant ship; the heroine is suffering from a terminal illness. Once more, hero and heroine fall in love, each keeping the facts of his or her imminent doom from the other. The principal difference this time is that instead of William Powell and Kay Francis, the stars are George Brent and Merle Oberon. This cast change does no damage to the basic storyline, but the decision in 'Til We Meet Again to expand upon the secondary romance between the arresting detective (Pat O'Brien) and an accomplice of the condemned man (Geraldine Fitzgerald) throws the focus of the film completely out of kilter. One decided benefit to both One Way Passage and 'Til We Meet Again is the comic presence of Frank McHugh, who plays the same role--a tipsy pickpocket--in both pictures. ~ Hal Erickson, All Movie Guide

This is the second movie version of Willa Cather's Pulitzer Prize winning novel that tells the story of a bride-to-be whose fiance is near-fatally injured by the jealous husband of a woman he had an affair with. The poor young woman is so upset by the situation that she swears she will never love another and takes off to live in an isolated mountain retreat. There she feels terribly sorry for herself. One day she is moping along a rough trail, falls and hurts herself. Fortunately, she is rescued by an elderly lawyer who helps her heal both physically and psychologically. The grateful girl ends up marrying him. Unfortunately she meets a handsome young man with whom she falls passionately, but chastely in love. Now she regrets marrying the old attorney. She decides to tell the lawyer her true feelings. When she is finished he promptly keels over with a heart attack. It might be noted that after Cather saw this film, she forbade the further sale of her works to Hollywood. ~ Sandra Brennan, All Movie Guide

Although some purists hold out for Duck Soup (1933), many Marx Brothers fans consider A Night at the Opera the team's best film. Immediately after the credits roll, we are introduced to Groucho Marx as penny-ante promoter Otis B. Driftwood. After a sumptuous dinner with a beautiful blonde at a fancy Milan restaurant, Driftwood tries to cadge another free meal from his wealthy patroness, Mrs. Claypool (Margaret Dumont). The dignified dowager complains that Driftwood had promised to get her into high society, but has done nothing so far. Otis B. counters by introducing Mrs. C to pompous opera entrepreneur Gottleib (Sig Rumann); all Mrs. Claypool has to do is invest several hundred thousand dollars in Gottleib's opera company, and her entree into society is in the bag. Contingent upon this plan is Driftwood's signing of Rodolfo Lassparri (Walter Woolf King), a self-important tenor. Backstage at the opera, Driftwood meets Fiorello (Chico Marx), who poses as a manager and offers to sell Driftwood the "world's greatest tenor"-not Lassparri, as Driftwood assumes, but Fiorello's pal Ricardo Baroni (Allan Jones). Instantly the two sharpsters try to draw up a contract ("The party of the first part shall hereafter be known as the party of the first part..."), which they proceed to tear up piece by piece whenever coming across a clause that displeases them (Driftwood: "That's a sanity clause"; Fiorello: "You no foola me. There ain't no Sanity Claus"). Having lost Lassparri to Gottleib, Driftwood sails back to America with Mrs. Claypool and the opera company. Gottleib arranges for Driftwood to get the tiniest, least accessible stateroom on the ship. Unpacking his trunk, Driftwood discovers that he's got to share his postage-stamp quarters with Ricardo Baroni, who has stowed away because he's in love with the opera troupe's leading lady Rosa (Kitty Carlisle). Also hiding out in Driftwood's trunk is Fiorello, who's come along because he's still Ricardo's manager, and the wacky Tomasso (Harpo Marx), Lassparri's former dresser, who has come along for the hell of it. Anxious to arrange a tete-a-tete with Mrs. Claypool in his stateroom, Otis finds out that his unwelcome guests won't leave until they're fed ("Do you have any stewed prunes? Well, give them some black coffee, that'll sober 'em up"). After ordering a huge dinner, Otis and his new friends are crowded even farther by a steady stream of intruders, including an engineer and his assistant, a cleaning lady, a manicurist, a girl looking for her Aunt Minnie, and a dozen waiters. The celebrated "stateroom scene" comes to a rollicking conclusion when Mrs. Claypool has the misfortune of opening the door. On the last night of the voyage, Fiorello, Tomasso and Ricardo sneak out of their stateroom to enjoy an impromptu ethnic festival in steerage. Ricardo sings, Fiorello "shoots the keys" on the piano, and Tomasso plays the film's theme song Alone on the harp. The stowaways are caught and thrown in the brig, but with Driftwood's help they escape. To avoid recapture, the stowaways don heavy beards and pose as three famed Russian aviators. After making a shambles of a public reception, the three reprobates hide out in Driftwood's New York apartment, where everyone conspires to drive an investigating detective (Robert Emmet O'Connor) crazy. Driftwood is fired from the opera company for associating with the stowaways, while Rosa is dismissed for refusing Lassparri's affections. In order to restore Rosa's job and put the deserving Ricardo in Lassparri's place during the opening performance of La Traviata, Driftwood, Fiorello and Tomasso concoct a scheme that will reduce the opera to comic chaos. The actual night at the opera in A Night at the Opera must be seen to be believed, but the spirit of the scene can be summed up by Gottleib's anguished cry "A battleship in Il Trovatore!" Opera was the Marx Brothers' first film for MGM, and they dearly coveted a hit after the disappointing box-office showing of their final Paramount films. With the blessing of MGM production chief Irving Thalberg, the Marxes went on the road with their brilliant writing staff (including George S. Kaufman, Morrie Ryskind and Al Boasberg) to test their comedy material before live audiences. As a result of this careful preplanning, Night at the Opera was a smash-hit gigglefest, grossing over $3 million and putting the Marxes back on top in the hearts and minds of filmgoers everywhere. ~ Hal Erickson, All Movie Guide

A Woman of Distinction serves as a tailor-made vehicle for Rosalind Russell. The star is cast as Susan Middlecott, a highly respected college dean. As can be expected, Susan is too busy for romance -- at least until handsome professor Alec Stevenson (Ray Milland) enters the picture. At first, the dean and the prof are thrown together by the overzealous machinations of a press agent, and they're none too pleased about it. No matter how hard they try to keep their distance from each other, Susan and Alec constantly find themselves in embarrassing situations in full view of the public. It takes the behind-the-scenes maneuvers of Susan's puckish papa (Edmund Gwenn) to straighten things out. Appearing in unbilled cameos are Lucille Ball as herself, and Ball's future TV cohort Gale Gordon as a railroad ticket agent. ~ Hal Erickson, All Movie Guide

Gat Brady (John Litel) is a wealthy gangster, though he's never killed anyone, an he is devoted to his teenaged daughter Annabel (Mary Maguire). When he's arrested for tax evasion on the eve of a European trip, he has Annabel's governess Flo Allen (Ann Sheridan) continue on the trip with the girl anyway. Red Carroll (Ben Welden), who hates Gat, kidnaps Annabel, but is caught and sent to the same prison as Gat. A fight with Red results in Gat being sent to the maximum-security prison on Alcatraz Island but, still bent on revenge, Red later arranges to have himself sent there, too. ~ Bill Warren, All Movie Guide

In this comedy, Paul Muni plays a recently murdered gangster who finds himself roasting in Hell. Muni can't believe that he's in for All Eternity and keeps trying to "bust out," which brings him to the attention of the Head Man (Claude Rains), who calls himself Nick. Nick strikes a bargain with Muni: There's a troublesome honest judge on Earth who's been shipping too many souls to Hell; if Muni will take over the judge's body and begin performing bad deeds, Nick will set him free. Muni readily agrees, eager to settle the score with the ex-partner (Hardie Albright) who bumped him off. Once he "becomes" the judge, however, Muni discovers that he is utterly incapable of performing any misdeeds--and when he falls in love with the judge's fiancee (Anne Baxter), Muni becomes determined to wriggle out of his agreement. Angel on My Shoulder is based on a story by Harry Segall, whose previous play Heaven Can Wait was filmed as Here Comes Mr. Jordan, also with Claude Rains. ~ Hal Erickson, All Movie Guide

Behind the Evidence is a standard Columbia crime programmer, directed with verve by veteran Lambert Hillyer. Norman Foster plays a millionaire who takes a job as a reporter after he's wiped out in the Stock Market. Foster's managing editor Samuel S. Hinds considers the young upstart to be a pain in the neck. But all is forgiven-at least until next time-when Foster solves a series of puzzling robberies. Shortly after Behind the Evidence went into the theatres, Norman Foster eschewed acting to become an accomplished director (Trivia note: Foster was the husband of actress Sally Blane, the former husband of Claudette Colbert, and the brother-in-law of Loretta Young. Just thought you'd like to know). ~ Hal Erickson, All Movie Guide

Virile George O'Brien straddles the "western" and "crime-flick" genres in RKO Radio's Border G-Men. The plot gets under way when the FBI learns that ammunition and men are being smuggled out of the US and into Mexico in violation of the neutrality act. Federal agent O'Brien is dispatched to Texas to investigate, promptly falling in love with pretty Laraine Johnson (later billed as Laraine Day), whose brother is unwittingly mixed up with the smugglers. Villains John Miljan and Rita LaRoy, in the employ of an unnamed foreign power, use every dirty trick at their disposal to continue their nefarious activities, but O'Brien proves a bit too fast and a great deal too smart for them. Several trade papers applauded RKO Radio's marketing strategy with Border G-Man, which enabled the studio to promote the film as either a straightford western or an espionage adventure, depending upon the demands of the exhibitors. ~ Hal Erickson, All Movie Guide

Just after completing It Happened One Night, director Frank Capra churned out a bread-and-butter picture titled Broadway Bill. Warner Baxter plays the carefree scion of a wealthy, highly-respected family. Baxter's cold but socially correct wife Helen Vinson forces her husband into the family business, but Baxter would rather spend his time at the racetrack. He buys a nag named Broadway Bill and tries to build the horse into a winner--if he doesn't bankrupt himself first. Only Baxter's sister-in-law Myrna Loy and black stable hand Clarence Muse have faith in Broadway Bill. The horse wins a crucial race, but dies suddenly at the finish line. Baxter is comforted and given encouragement by Loy, who is now his sweetheart, Vinson having long since washed her hands of her "irresponsible" husband. Broadway Bill was remade by Capra as Riding High (1950), utilizing generous portions of stock footage and even going so far as to rehire several of the original film's cast members (Douglass Dumbrille, Clarence Muse, Charles Lane, Raymond Walburn, Margaret Hamilton, Frankie Darro) to recreate their roles and match up their scenes from the earlier production. Long withheld from distribution due to Riding High, Broadway Bill was made available for videocassette in the mid-1980s. Keep an eye out for Lucille Ball as a blonde telephone operator and Alan Hale Sr. as a racetrack announcer. ~ Hal Erickson, All Movie Guide

Don "Red" Barry plays Lt. "California Joe" Weldon in this Civil War-era western. Joe is a Union undercover agent, whose job it is to stem the activities of Southern sympathizers. It turns out that the rebels aren't villainous, merely misled. The picture's real heavy is a Quantrill type who intends to play one side against the other and then set up his own personal empire. Like most Don Barry vehicles of this era, California Joe benefits from the comic expertise of Wally Vernon. The simpering cuteness of juvenile actress Twinkle Watts, however, is a decided detriment. ~ Hal Erickson, All Movie Guide

Actual footage of the 1936 Berlin Olympics is rabbeted into the action of this superior Charlie Chan entry. Assigned by the U.S. Navy to track down a gang of international spies, Charlie Chan (Warner Oland) heads to Berlin, where as luck would have it his son Lee (Keye Luke) is representing the United States as a member of the Olympic swimming team. Among Lee's teammates is Richard Masters (Allan Lane), who has unfortunately fallen under the spell of the alluring Yvonne Roland (Katherine De Mille), much to the dismay of his sweetheart Betty Adams (Pauline Moore). What no one knows (but Chan suspects) is that Yvonne is one of the spies, in league with the mysterious Arthur Hughes (C. Henry Gordon). Yvonne hides a stolen secret weapon in Betty's luggage, leading to a not-so-merry chase through Berlin, and the ultimate kidnapping of Lee Chan by the villains. Plus, there's a murder to be solved, and Berlin police chief Strasset (Fredrick Vogeding) isn't about to let Charlie Chan get the credit. Ironically, Charlie travels from New York to Berlin via the dirigible Hindenburg -- which crashed into flames the same week that Charlie Chan at the Olympics was released (PS: The Nazi swastika on the tail of the airship was matted out by the special-effects crew). ~ Hal Erickson, All Movie Guide

George Seaton's 1948 comedy Chicken Every Sunday was based on the play by Julius J. Epstein and Philip G. Epstein as well as the original memoirs of Rosemary Taylor. Set during the turn of the century on the American frontier, Emily Heffernan (eleste Holm) is the practical wife of foolish would-be businessman Jim Heffernan (Dan Dailey). While Emily struggles to keep the household together by renting out rooms to boarders, Jim wastes the family's earnings on get-rich-quick schemes. Told in flashback, Emily recalls her 20-year marriage before filing for divorce. Emily has had enough and wants to leave, but their friends try to get them back together. Also starring Colleen Townsend, Alan Young, and a ten-year-old Natalie Wood. ~ Andrea LeVasseur, All Movie Guide

The titular colleen is Ruby Keeler, hired to manage a dress shop by wealthy Dick Powell. Keeler is the replacement for slatternly Joan Blondell, who'd been assigned the job by Powell's philandering father (Hugh Herbert). With Powell and Keeler at the helm, it's no time at all before the musical numbers proliferate, though none of the songs have the staying power of those in such earlier Warners musicals as 42nd Street and Golddiggers of 1933. The best number, "Boulevardier from the Bronx", is familiar to modern viewers thanks to its constant use in Warner Bros. cartoons. A lesser Powell/Keeler outing, Colleen contains what many film buffs regard as the definitive performance of character comedian Hugh "Woo Woo" Herbert. ~ Hal Erickson, All Movie Guide