Evelyn Keyes Movies

Though legendary entertainer Al Jolson was a highly visible presence on the U.S.O. circuit during World War II, he was generally regarded as a relic of an earlier time until his movie comeback in 1945's Rhapsody in Blue. Showing up 30 minutes into this biopic of George Gershwin, Jolson literally stopped the show with his robust rendition of "Swanee." Suddenly, every Hollywood studio was negotiating with Jolson to film his life story. Warner Bros., the studio that skyrocketed to the top ranks via the 1927 part-talkie Jolson vehicle The Jazz Singer, seemed to have the inside track, but it was Columbia's Harry Cohn who made the deal that Jolson couldn't refuse. An attractively appointed fabrication, the Technicolor The Jolson Story distorts and glosses over the particulars of Jolson's life, but the results are so darned entertaining that nobody really paid attention to its inaccuracies. The story begins in turn-of-the-century Washington, D.C., where young Asa Yoelson (Scotty Beckett), son of an immigrant cantor (Ludwig Donath), ignores his religious studies in favor of popular music. Asa is hired as an "extra added attraction" boy tenor by a vaudevillian; when his voice breaks, the boy wins over the audience with his whistling ability. Growing into manhood, Asa Yoelson -- now "Al Jolson," and now played by Larry Parks -- becomes fascinated with African-American jazz music. He breaks away from his initial vaudeville assignment by joining Lew Dockstader's (John Alexander) blackface minstrel troupe, then goes on to success as a "single." Ascending to Broadway, Jolson establishes a reputation as an inveterate ad-libber, as well as an indefatigable singing performer, frequently holding an audience in thrall until the wee hours of the morning. Along the way, he falls in love with singer Julie Benson (Evelyn Keyes), a character based on Jolson's third wife Ruby Keeler, who refused permission to have her name used on screen. As Jolson attains superstardom, his ego assumes gargantuan proportions, alienating many of those around him, including his wife Julie. Anxious not to lose Julie, Jolson promises to change his ways. He even goes into retirement so as to spend more time with his wife. But when coerced into performing before a nightclub audience, Jolson is "hooked"once more -- whereupon the understanding Julie walks out of his life, realizing that she can never compete with Jolson's love for his audience. Like its subject, The Jolson Story delivered exactly what the audience wanted to hear. Faithful Columbia contractee Larry Parks was catapulted to stardom as Jolson, though in retrospect he seems a curious casting choice: his miming of Jolson's style is painstakingly accurate, but he seems too boyish and unwordly for the role. Jolson, then well into his sixties, had wanted to play himself on screen, but was talked out of it after a rather embarrassing screen test. He consoled himself by personally coaching Parks in the role (his attitude toward the young performer alternated between avuncular and adversarial through the shooting), and by providing his own voice in the musical sequences. Jolson also appears in long-shot during the "Swanee" number, which like all the film's musical highlights was directed by cult favorite Joseph H. Lewis (whose "dry run" for this assignment was the 1945 PRC production Minstrel Man). A wealth of Jolson standards are heard in The Jolson Story, including "You Made Me Love You," "I'm Sitting on Top of the World," "My Mammy," "There's a Rainbow Round My Shoulder," "Toot Toot Tootsie," "The Anniversary Waltz," "Rock-a-bye Your Baby," and "Let Me Sing and I'm Happy." The film was nominated for several Oscars, winning in the "best sound" and "best score" categories. A fantastic box-office success, The Jolson Story spawned a 1949 sequel, Jolson Sings Again. Ironically, despite Larry Parks' contributions to the film, it did little for that actor and instead reignited Jolson's celebrity during the last several years of his life. ~ Hal Erickson, All Movie Guide

Whenever budget-conscious Columbia laid out good money for Technicolor in the 1940s, it was usually for a musical or an "A" western. Renegades falls into the latter category. Fresh from The Jolson Story, Larry Parks stars as the son of a notorious, Scripture-spouting outlaw (Edgar Buchanan). Parks tries to go straight, but eventually succumbs to expectations and becomes a renegade along with his father and brothers. Willard Parker is the peaceable town doctor who guns down Parks in the climax, while Evelyn Keyes is the leading lady, who insists upon finding Parks fascinating despite of (or maybe because of) his reputation. ~ Hal Erickson, All Movie Guide

In this mystery, the artist behind a detective cartoon strip solves real police cases on the side. The police are rather irritated by him because he is better at it than they are. He does it again when the chairman of a fund-raiser suddenly dies during a benefit. The police report claims the man died of heart failure, but the cartoonist proves that he was poisoned. ~ Sandra Brennan, All Movie Guide

This flag-waving Columbia programmer concentrates on five young Officer's Candidate School applicants. Each of the protagonists aspires to an officer's commission in the Anti-Artillery Aircraft Command. All the clichéd characterizations are in attendance, from the brash show-off (Tom Neal) to the seen-it-all veteran (Bruce Bennett). Evelyn Keyes is the obligatory romantic lead, while future "Ward Cleaver" Hugh Beaumont shows up as a hard-nosed lieutenant. There's Something About a Soldier was largely filmed on location at the OCS training headquarters of Camp Davis, North Carolina. Excerpts from the film were later reused in Columbia's The Racket Man, which also starred Tom Neal. ~ Hal Erickson, All Movie Guide

In this Western drama, Steve Upton (Randolph Scott) is the sheriff of a Utah community in 1860. Upton's best friend, Cheyenne Rogers (Glenn Ford), was once an outlaw, but under Steve's guidance, he's gone straight and tries to earn an honest living. However, while Cheyenne is in town to pay Upton a visit, the local bank is robbed and Cheyenne is the prime suspect. Through Cheyenne is quickly convicted, Upton is convinced his friend is innocent, and the sheriff helps the former outlaw break out of jail; together, they hit the trail trying to find the real culprits and clean up the town. The Desperadoes had the distinction of being the first Technicolor feature released by Columbia Pictures. ~ Mark Deming, All Movie Guide

Glenn Ford plays Martin Eden, an aspiring writer who signs on a merchant ship as a sailor. Tormented by the ship's sadistic captain (Ian McDonald), Eden survives the voyage, determined to write an expose of his horrible experiences. At first opposed by the maritime authorities, Martin's book becomes a best-seller. Its publication results in punishment for the wicked captain and the exoneration of a sailor (Stuart Erwin) accused of murder. Based on Jack London's semi-autobiographical novel, Adventures of Martin Eden earned a minor niche in media history as the first major-studio film to be released to television. ~ Hal Erickson, All Movie Guide

In this taut, creepy melodrama, a housemaid works as the companion of an aging, retired British actress. One day the maid (Ida Lupino) is visited by her two looney half sisters. The actress finds the slightly mad sisters intolerable and demands that they leave. Unfortunately, the maid realizes that if the sisters are sent away they will end up involuntarily committed to an insane asylum and so the maid kills the actress and lets the sisters stay. Things go well until a suspicious relative shows up and starts to investigate. Nominated for Oscars for Best Interior Decoration and Best Score, Ladies in Retirement is based upon a stage play that was in turn based upon the true story from 1886. ~ Sandra Brennan, All Movie Guide

That "Peaceable Man," William "Wild Bill" Elliott, once again plays Wild Bill Hickock in this fine B-Western from Columbia Pictures. This time, sidekick Cannonball (Dub Taylor) discovers that two old enemies, swindlers Cord Crowley (Bradley Page) and Jeff Adams (Frank LaRue), are fooling the good folks of Lodestone into believing that they are solid citizens. When the banker, Jason Perry (John Dilson), refuses to heed Wild Bill's warning, the peaceable man is forced to show his hand. Adams is the first to blink and when confronted with his criminal record, the veteran crook commits suicide. Crowley proves a tougher nut to crack, but, as always, Wild Bill gets his man in the end. Taking a breather from the action, Dub Taylor performs his own "The West Gets Under My Skin," while suffering the consequences of a flee-ridden cowhide west. ~ Hans J. Wollstein, All Movie Guide

Columbia's The Lady in Question is a remake of the French Gribouille, a Raimu vehicle from 1939. Brian Aherne plays Andre Morestan, the seeming contently paterfamilias of a bourgeois Parisian family. Summoned for jury duty, Morestan at first believes that accused murderess Natalie Rougin (Rita Hayworth) is guilty, but eventually takes pity on the homeless girl and invites her to live with his family after her acquittal. Things get pretty dicey when Morestan's impressionable young son Pierre (Glenn Ford) falls in love with the enigmatic Natalie and begins committing petty crimes to finance their elopement-leading to a situation not unlike the one that got the girl arrested in the first place! In the original Gribouille, it was abundantly clear that both father and son had a yen for their pretty guest, but this menage a trois has been toned down in the Hollywood version, with Morestan remaining more or less faithful to his long-suffering wife Michelle (Irene Rich). ~ Hal Erickson, All Movie Guide

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, All Movie Guide

Paramount's Sudden Money has all the earmarks of a Charlie Ruggles-Mary Boland vehicle, except that this time Ruggles is teamed with Marjorie Rambeau. It all begins when Sweeney Patterson (Ruggles) and his brother-in-law Doc Finney (Broderick Crawford) win $150,000 in the Irish sweepstakes. All of a sudden, Sweeney and his wife Elsie (Marjorie Rambeau) are besieged by relatives and "friends" whom they've never seen before, all of whom want a piece of the action. After a series of not-so-merry misadventures, the Pattersons decide that they were better off when they were poor. Not bad for such a familiar plotline, Sudden Money benefits from the byplay between Ruggles and Rambeau, who play together as if they'd been a team for years. ~ Hal Erickson, All Movie Guide

Cecil B. DeMille's The Buccaneer stars Fredric March, complete with curly hair, pencil moustache and florid "Sacre Bleu!" French accent, as 18th century pirate Jean Lafitte. Operating out of a "buccaneer's haven" of the coast of New Orleans, Lafitte plunders all passing ships for their wealth, but refuses to attack any vessel flying the American flag. During one seafaring skirmish, he rescues Dutch maiden Gretchen (Franziska Gaal) from a sunken ship. Gretchen falls madly in love with the dashing Lafitte, but he has eyes only for aristocratic Louisana belle Annette (Margot Grahame). During the War of 1812, Lafitte is offered a pardon by Andrew Jackson (Hugh Sothern) if he and his pirates will fight on the American side. As good as his word, Lafitte stands shoulder to shoulder with Jackson as they ward off the British at the Battle of New Orleans. During a Victory Ball in his honor, Lafitte is confronted with evidence that he unknowingly caused the death of Annette's younger sister Marie (Louise Campbell) during a previous act of piracy. The assembled guests are all for hanging Lafitte on the spot, but General Jackson offers the pirate an hour's head start out of New Orleans, provided he never set foot on American soil again. This naturally costs Lafitte the love of Annette; fortunately, Gretchen is awaiting him on board his ship with open arms. From the opening scene in which Dolly Madison (Spring Byington) rescues the Declaration of Independence during the burning of Washington to the closing clinch between Lafitte and Gretchen, The Buccaneer is one of DeMille's most exhilarating films. It was remade less successfully in 1958 under the direction of Cecil B's son-in-law Anthony Quinn, who played the supporting role of Beluche in the original film. ~ Hal Erickson, All Movie Guide

Brash and vigorous director William Wellman always had a place in his filmography for movies glorifying the early years of aviation -- from the start of his career (Wings), until the end (Lafayette Escadrille). But, perhaps, never has his devotion to aviation been made more vivid than in his 1938 drama Men With Wings. Wellman, in this film, attempts to dramatize the history of aviation from the early days of the Wright Brothers until the 1930s, when airline transportation first became viable. The story centers upon two contrasting aviation types: the barnstormer, Pat Falconer (Fred MacMurray), and the methodical scientist of flight, Scott Barnes (Ray Milland). Through these two archetypes, Wellman follows Pat and Scott from childhood to adulthood. Pat marries childhood sweetheart Peggy Ransom (Louise Campbell) and they have a child. Scott, who had always loved Peggy, remains in the background, not wanting to break up his solid friendship with Pat. But Pat is clearly doomed by his recklessness and breakneck individuality. After fighting in the skies during World War I, he refuses to sit back and do the methodical work of flight research like Scott. Always searching for another war to fight, Falconer leaves Scott and Peggy behind, taking off for China to help the Chinese fight Japanese invaders. ~ Paul Brenner, All Movie Guide