Edward Keane Movies

Based on a novel by Barry Fleming, Colonel Effingham's Raid stars Charles Coburn in the title role. Upon retiring from the army, Effingham returns to his home town of Fredericksville, Georgia. Dismayed by the town's paucity of civic pride, the Colonel begins writing a newspaper column honoring Fredericksville's old traditions and chastizing those who would tear those traditions down. His pet peeve is the city administration's plan to rename Confederate Square after the pompous, mildly corrupt town mayor (Thurston Hall). When it seems that his protests are falling upon deaf ears, Colonel Effingham literally stage a "military assault" against City Hall, which in real life would get him thrown in the looney bin but which in a whimsical comedy of this nature results in a smashing success for the "good guys". If Colonel Effingham's Raid seems to be popping up on TV at a rate of once a day, it is because the film lapsed into public domain in 1973. ~ Hal Erickson, Rovi

Masterfully directed by Fritz Lang, Scarlet Street is a bleak film in which an ordinary man succumbs first to vice and then to murder. Christopher Cross (Edward G. Robinson) is a lonely man married to a nagging wife. Painting is the only thing that brings him joy. Cross meets Kitty (Joan Bennett) who, believing him to be a famous painter, begins an affair with him. Encouraged by her lover, con man Johnny Prince (Dan Duryea) Kitty persuades Cross to embezzle money from his employer in order to pay for her lavish apartment. In that apartment, happy for the first time in his life, Cross paints Kitty's picture. Johnny then pretends that Kitty painted to portrait, which has won great critical acclaim. Finally realizing he has been manipulated, Cross kills Kitty, loses his job, and because his name has been stolen by Kitty, is unable to paint. He suffers a mental breakdown as the film ends, haunted by guilt. Kitty and Johnny are two of the most amoral and casual villains in the history of film noir, both like predatory animals completely without conscience. Milton Krasner's photography is excellent in its use of stark black-and-white to convey psychological states. Fritz Lang is unparalleled in his ability to convey the desperation of hapless, naïve victims in a cruelly realistic world. ~ Linda Rasmussen, Rovi

Lady and the Monster was the first film version of the classic Curt Siodmak sci-fi/horror tale Donovan's Brain. The plot involves the brain of a famous but unscrupulous financier, recently deceased. The brain is kept alive artificially by overenthusiastic scientist Erich Von Stroheim, with the help of lab assistants Vera Hruba Ralston (the "lady" of the title) and Richard Arlen. Gradually, the dead financier's brain takes over the mind of Arlen, turning him into the helpless conduit for the financier's evil machinations. Lady and the Monster was remade in 1954, using the original Siodmak title Donovan's Brain. ~ Hal Erickson, Rovi

The second of two PRC vehicles for veteran featured player Frank Jenks (the first was Shake Hands with Murder), Rogues' Gallery casts Jenks as Eddie, a wisecracking photojournalist. Teaming up with intrepid girl reporter Patsy (Robin Raymond), Eddie sets out to get an exclusive interview with Reynolds (H. B. Warner), inventor of a new listening device. Before they know what's happening, our hero and heroine are knee-deep in murder. As it turns out, Eddie had only to look over his shoulder to determine the killer's identity. As PRC films go, Rogues' Gallery is bright and snappy entertainment. ~ Hal Erickson, Rovi

All but forgotten today, A Stranger in Town serves as an excellent showcase for the dramatic talents of Frank Morgan. The star plays Supreme Court justice John Josephus Grant, who decides to take a break from his hectic schedule by going on a hunting vacation. Travelling incognito, Grant stops over in a small town that turns out to be a hotbed of political corruption. Taking a liking to honest young mayoral candidate Bill Adams (Richard Carlson), Grant uses his legal know-how to help thwart Adams' crooked opponents. Jean Rogers, best-known to film buffs as Dale Arden in the first two "Flash Gordon" serials, is decorative as Grant's secretary, who (of course!) falls in love with the clean-cut Bill Adams. ~ Hal Erickson, Rovi

Republic's winning combination of western star Wild Bill Elliot, comic sidekick Gabby Hayes and leading lady Anne Jeffreys is shown to good advantage in Death Valley Manhunt. Elliot plays a lawman who is hired by a group independent oilmen to protect them from crooked business interests. One of the bad guys is Richard Quinn (Weldon Heyburn), who tries to stir up a range war against the oilmen and the local landowners. When Elliot figures out what Quinn is up to, pity the poor bad man who gets in Our Hero's way. In the film's best scene, Wild Bill finds himself atop an oil well just as a gusher is about to burst forth from the earth. ~ Hal Erickson, Rovi

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, Rovi

During WW II, Universal cornered the market on "quickie" musicals, wrapping up songs, laughs and pretty girls in neat 60-minute packages. In Sing a Jingle, Allan Jones plays popular radio crooner Roy King, who goes to work in a war plant after being declared 4F. He falls in love with Muriel Crane (June Vincent), the boss' daughter, who is at first unaware of the fact that King is the heartthrob of millions (he's gotten the job under an assumed name). The whole thing ends with a huge war-bond rally, with King singing his heart out for Uncle Sam. Comedy relief is provided by the hoydenish Betty Kean and persimmon-faced Gus Schilling; also on hand is the Kings' Men Quartet, who much later provided the A Capella musical accompaniment for TV's Wyatt Earp and Jim Bowie. ~ Hal Erickson, Rovi

Yankee Doodle Dandy is no more the true-life story of George M. Cohan than The Jolson Story was the unvarnished truth about Al Jolson -- but who the heck cares? Dandy has song, dance, pathos, pageantry, uproarious comedy, and, best of all, James Cagney at his Oscar-winning best. After several failed attempts to bring the life of legendary, flag-waving song-and-dance man Cohan to the screen, Warners scenarist Robert Buckner opted for the anecdotal approach, unifying the film's largely unrelated episodes with a flashback framework. Summoned to the White House by President Roosevelt, the aging Cohan is encouraged to relate the events leading up to this momentous occasion. He recalls his birth on the Fourth of July, 1878; his early years as a cocky child performer in his family's vaudeville act; his decision to go out as a "single"; his sealed-with-a-handshake partnership with writer/producer Sam Harris (Richard Whorf); his first Broadway success, 1903's Little Johnny Jones; his blissful marriage to winsome wife Mary (a fictional amalgam of Cohan's two wives, played by Joan Leslie -- who, incredibly, was only 17 at the time); his patriotic civilian activities during World War I, culminating with his writing of that conflict's unofficial anthem "Over There" (performed by Nora Bayes, as played by Frances Langford); the deaths of his sister, Josie (played by Cagney's real-life sister Jeanne), his mother, Nellie (Rosemary DeCamp), and his father, Jerry (Walter Huston); his abortive attempt to retire; and his triumphant return to Broadway in Rodgers & Hart's I'd Rather Be Right.

His story told, Cohan is surprised -- and profoundly moved -- when FDR presents him with the Congressional Medal of Honor, the first such honor bestowed upon an entertainer. His eyes welling up with tears, Cohan expresses his gratitude by invoking his old vaudeville curtain speech: "My mother thanks you, my father thanks you, my sister thanks you, and I thank you." Glossing over such unsavory moments in Cohan's life as his bitter opposition of the formation of Actor's Equity -- not to mention George M.'s intense hatred of FDR! -- Yankee Doodle Dandy offers the George M. Cohan that people in 1942 wanted to see (proof of the pudding was the film's five-million-dollar gross). And besides, the plot and its fabrications were secondary to those marvelous Cohan melodies -- "Give My Regards to Broadway," "Harrigan," "Mary," "You're a Grand Old Flag," "45 Minutes from Broadway," and the title tune -- performed with brio by Cagney (who modifies his own loose-limbed dancing style in order to imitate Cohan's inimitable stiff-legged technique) and the rest of the spirited cast. Beyond its leading players, movie buffs will have a ball spotting the myriad of familiar character actors parading before the screen: S.Z. Sakall, George Tobias, Walter Catlett, George Barbier, Eddie Foy Jr. (playing his own father), Frank Faylen, Minor Watson, Tom Dugan, John Hamilton, and on and on and on. In addition to Cagney, music directors Ray Heindorf and Heinz Roemheld also won Oscars for their efforts. ~ Hal Erickson, Rovi

One of the most frequently revived of the Pine-Thomas productions of the 1940s, Wildcat is set amongst the oil fields of Oklahoma. With the help of his pal Chicopee Nevins (Elisha Cook Jr.), foresighted oil speculator Johnny Maverick (Richard Arlen) buys up a great deal of property in hopes of coming up with a gusher. Maverick's business practices are questionable to say the least, and as result he's constantly on the lookout for potential investors. After Nevins is killed in an accident, con artists Nan Deering (Arline Judge) and Oliver Westbrook (William Frawley) make a bid for Nevins' half of the business, with Nan posing as the dead partner's sister. Westbrook's business knowhow enables Maverick to finally arrive at the brink of success, but now he has a new obstacle to overcome: Villainous wildcatter Mike Rawlins (Larry "Buster" Crabbe), who has a bad habit of setting fire to his competition's oil wells. Some of the film's best scenes are at the beginning, as Maverick and Nevins try to charm an old woman into leasing her land to them by pretending to enjoy the lady's indigestable apple pies. ~ Hal Erickson, Rovi

Hope Schuyler is a notorious but never-seen astrologer, inextricably linked with blackmail, political graft and murder. Special prosecutor Tom Mason (Joseph Allen Jr.) hopes to ascertain the true identity of Hope Schuyler and to put an end to her (or his) crime spree. Despite the obstacles thrown in his path by vindictive DA Anthony Pierce (Ricardo Cortez), Mason pursues his investigation with the not inconsiderable assistance of his girl friend Diane Rossiter (Mary Howard) and fearless girl reporter Lee Dale (Sheila Ryan). The trail of clues lead to a remote mountain lodge, where the story's pulse-pounding conclusion plays itself out. Who is Hope Schuyler? was based on a novel by Stephen Ransome. ~ Hal Erickson, Rovi

Republic's ongoing professional association with the celebrated "Ice-Capades" skating show yielded a number of flashy but forgettable musicals, including 1942's Ice-Capades Revue. Though a plot is hardly necessary, the story concerns New England farm gal Ann (Ellen Drew), whose already-mounting debts are escalated when she inherits a near-bankrupt ice show. Her efforts to revivify this operation are regularly thwarted by a conniving promoter named Duke Baldwin (Harold Huber), who has already tied up all the best arenas for his own skating spectacular. But Baldwin's second-in-command Jeff (Richard Denning) falls in love with Ann and vows to see to it that her show will be staged, come heck or high water. Jerry Colonna goes through his customary zaniness as an eccentric would-be backer who turns out to be a phony, while Barbara Jo Allen again trots out her dizzy "Vera Vague" characterization. Foremost among the skating acts in Ice-Capades Revue is Vera Hruba Ralston, who'd later be elevated to leading-lady status at Republic by her ardent admirer (and future husband), studio president Herbert J. Yates. ~ Hal Erickson, Rovi