Lillian Kemble-Cooper Movies

At one time the longest-running Broadway musical, My Fair Lady was adapted by Alan Jay Lerner and Frederick Loewe from the George Bernard Shaw comedy Pygmalion. Outside Covent Garden on a rainy evening in 1912, dishevelled cockney flower girl Eliza Doolittle (Audrey Hepburn) meets linguistic expert Henry Higgins (Rex Harrison). After delivering a musical tirade against "verbal class distinction," Higgins tells his companion Colonel Pickering (Wilfred Hyde-White) that, within six months, he could transform Eliza into a proper lady, simply by teaching her proper English. The next morning, face and hands freshly scrubbed, Eliza presents herself on Higgins' doorstep, offering to pay him to teach her to be a lady. "It's almost irresistable," clucks Higgins. "She's so deliciously low. So horribly dirty." He turns his mission into a sporting proposition, making a bet with Pickering that he can accomplish his six-month miracle to turn Eliza into a lady. This is one of the all-time great movie musicals, featuring classic songs and the legendary performances of Harrison, repeating his stage role after Cary Grant wisely turned down the movie job, and Stanley Holloway as Eliza's dustman father. Julie Andrews originated the role of Eliza on Broadway but producer Jack Warner felt that Andrews, at the time unknown beyond Broadway, wasn't bankable; Hepburn's singing was dubbed by Marni Nixon, who also dubbed Natalie Wood in West Side Story (1961). Andrews instead made Mary Poppins, for which she was given the Best Actress Oscar, beating out Hepburn. The movie, however, won Best Picture, Best Director, Best Actor for Harrison, and five other Oscars, and it remains one of the all-time best movie musicals. ~ Hal Erickson, Rovi

In the 1750s, young orphan John Mohune (Jon Whiteley) arrives at the seaside Dorset village of Moonfleet seeking Jeremy Fox (Stewart Granger), a one-time "friend" of his late mother, to whom she has turned over care of the boy. Fox exudes an aura of class and bravado, along with an obvious love of life and the finer things it can offer, all of which combine to make him a beguiling presence to one and all, including the larcenous, decadent local nobility (George Sanders) and a band of cut-throats led by Elzevir Block (Sean McClory), to whom he has more than a passing acquaintance. In his innocence, John -- oblivious to the fact that Jeremy runs a murderous smuggling ring -- instantly accepts this man as a loyal friend (and, indeed, a man to be loved and trusted like a parent, precisely because his mother has consigned him to his care). And Jeremy, initially disdainful of the boy, finds himself moved by the latter's willingness to love him and see his better nature, which does come out (with some resistance) under his coaxing, and reluctantly becomes his guardian. But there are too many nefarious goings on in and around Moonfleet, between smugglers and the authorities pursuing them, and the Mohune family's dark history, to keep John safe from danger. His life is placed at risk when he stumbles on the secret of old "Redbeard," the Mohune patriarch who betrayed law and morality, selling his soul for a priceless diamond, which has long been believed lost. Before long, young John knows too much about the smugglers for their comfort, despite Jeremy's protection -- and when he accidentally discovers a clue to the location of Redbeard's diamond, even Jeremy can't resist the chance for that prize, even if he has to cheat the boy out of his birthright. ~ Bruce Eder, Rovi

A remake of the Swedish film of the same name (see entry 55092), MGM's A Woman's Face was reshaped into one of Joan Crawford's best vehicles. Told in flashback from the vantage point of a murder trial, the story concerns a female criminal whose face is disfigured by a hideous scar. The plastic-surgery removal of this disfigurement has profound repercussions, both positive and tragically negative. The film's multitude of subplots converge when Conrad Veidt, Joan's lover and onetime partner in crime, is murdered. Melvyn Douglas costars as the beneficent cosmetic surgeon who becomes Joan's lover, while Osa Massen appears as Douglas' vituperative wife. Making his American screen debut in the role of Veidt's father is Albert Basserman, who spoke no English and had to learn his lines phonetically. Both A Woman's Face and its Swedish predecessor were based on Il Etait Une Fois, a play by Francis de Croiset. ~ Hal Erickson, Rovi

Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O. Selznick managed to expand this concept, and Margaret Mitchell's best-selling novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks. Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." ~ Hal Erickson, Rovi

The Warner Bros. musicals began running out of gas in the late 1930s, yielding such lukewarm efforts as Ready, Willing and Able. Ruby Keeler, as charmingly ingenuous as ever, plays Jane, a college student with show-biz aspirations. In order to land a role in an upcoming Broadway spectacular, Jane impersonates famous British stage luminary Jane Clarke (and never mind that her British accent is as transparent as a plastic bag). On the strength of Jane's supposed reputation, fly-by-night producers Pinky Blair (Lee Dixon) and Barry Granville (Ross Alexander) convince a movie studio to pony up the money for their Broadway show. The trouble begins when the real Jane Clarke shows up, threatening lawsuits left and right. Somehow, Pinky and Barry are able to make both of their leading ladies happy, and the show goes on. The film's solitary musical highlight is "Too Marvelous For Words," performed by a battalion of leggy chorines on a huge typewriter; curiously, this very famous sequence was barely mentioned at all in the original reviews for Ready, Willing and Able. Sadly, co-star Ross Alexander died before the film was released nationally. ~ Hal Erickson, Rovi

Based on a novel by Netta Syrett, A Woman Rebels is the story of Pamela Thistlewaite (Katharine Hepburn), whose mission in life is to defy the restrictive and often hypocritical conventions of Victorian England. Refusing to conform to the status quo, Pamela lives alone, reads, and says whatever she wishes, and even -- horrors! -- takes a job. Her romantic dalliance with young Gerald (Van Heflin, in his film debut) results in an illegitimate daughter (Doris Dudley), whom Pamela raises as her niece until she decides it's high time to tell the truth in all matters. Faithful suitor Thomas Lane (Herbert Marshall) offers to make an "honest woman" of her, but Pamela refuses until she can stand on her own two feet financially. Fiercely independent to the last, she becomes the crusading editor of a pioneering pro-feminist magazine and an early champion of Women's Suffrage. It was hoped by RKO Radio that The Woman Rebels would restore the popularity of Katharine Hepburn, which thanks to a series of expensive failures had been flagging for the past two years. Though the film turned out to be a box-office loser (it posted a $220,000 deficit), in retrospect it can be regarded as an artistic triumph -- and a remarkably timely one at that. ~ Hal Erickson, Rovi

This cozy little Warner Bros. drama was based on a Saturday Evening Post story by Lillian Day. Ruth Donnelly stars as Lizzie, a personal maid who after serving several of New York's "best" families, elects to work in the middle-class home of insurance salesman Tom Smith (Warren Hull) and his wife (Margaret Lindsay). Using the business acumen she's gleaned from her previous employers, Lizzie subliminally guides Tom to financial success and a higher social status. Virtue turns out to be its own reward when the Smith's good fortune extends to Lizzie's own daughter (Anita Louise). Personal Maid's Secret is an offbeat "straight" assignment for droll comedienne Ruth Donnelly, who handles the assignment with calm assurance. ~ Hal Erickson, Rovi