Claude King Movies

We open on Philadelphia socialite C.K. Dexter Haven (Cary Grant) as he's being tossed out of his palatial home by his wife, Tracy Lord (Katharine Hepburn). Adding insult to injury, Tracy breaks one of C.K.'s precious golf clubs. He gallantly responds by knocking her down on her million-dollar keester. A couple of years after the breakup, Tracy is about to marry George Kittridge (John Howard), a wealthy stuffed shirt whose principal recommendation is that he's not a Philadelphia "mainliner," as C.K. was. Still holding a torch for Tracy, C.K. is galvanized into action when he learns that Sidney Kidd (Henry Daniell), the publisher of Spy Magazine, plans to publish an exposé concerning Tracy's philandering father (John Halliday). To keep Kidd from spilling the beans, C.K. agrees to smuggle Spy reporter Macauley Connor (James Stewart) and photographer Elizabeth Imbrie (Ruth Hussey) into the exclusive Lord-Kittridge wedding ceremony. How could C.K. have foreseen that Connor would fall in love with Tracy, thereby nearly lousing up the nuptials? As it turns out, of course, it is C.K. himself who pulls the "louse-up," reclaiming Tracy as his bride. A consistently bright, bubbly, witty delight, The Philadelphia Story could just as well have been titled "The Revenge of Katharine Hepburn." Having been written off as "box-office poison" in 1938, Hepburn returned to Broadway in a vehicle tailor-made for her talents by playwright Philip Barry. That property, of course, was The Philadelphia Story; and when MGM bought the rights to this sure-fire box-office success, it had to take Hepburn along with the package -- and also her veto as to who her producer, director, and co-stars would be. Her strategy paid off: after the film's release, Hepburn was back on top of the Hollywood heap. While she didn't win the Oscar that many thought she richly deserved, the little gold statuette was bestowed upon her co-star Stewart, perhaps as compensation for his non-win for 1939's Mr. Smith Goes to Washington. Donald Ogden Stewart (no relation to Jimmy) also copped an Oscar for Best Adapted Screenplay. The Philadelphia Story was remade in 1956 with a Cole Porter musical score as High Society. ~ Hal Erickson, Rovi

Rachel Crothers' thoughtful stage play Susan and God was tastefully adapted for the screen by Anita Loos. Joan Crawford stars as Susan, whose unquestioning devotion to various religious organizations causes a great deal of strain between herself and her family. When Susan embraces a "New Thought" theological movement, she decides to apply the tenets of this new philosophy to patch up the unhappy marriages within her own social circles. She succeeds only in making things worse, and in further harming her own relationship with husband Barrie (Fredric March) and daughter Blossom (Rita Quigley). But it is the unadorned, unpretentious religious faith of little Blossom that ultimately brings Susan and Barrie together again. When Susan and God was first released in 1940, Joan Crawford's performance was occasionally compared unfavorably to that of Gertrude Lawrence, who created the role of Susan on Broadway; it was suggested by some that Crawford patterned her portrayal exactly on Lawrence's, right down to the line delivery. Modern audiences, denied the opportunity to see Lawrence's interpretation, are less inclined to downgrade Crawford's work, which rates among her best. ~ Hal Erickson, Rovi

Originally designed for exhibition at the 1939 World's Fair, Land of Liberty is a 137-minute compendium of filmclips from past American historical epics. The project was sponsored by the Motion Picture Producers & Distributors of America, Inc. and supervised by Cecil B. DeMille, who also edited the film with the assistance of his crack Paramount production staff. The narration was written by old DeMille hands Jeannie MacPherson and Jesse Lasky Jr. and spoken by a talented team of uncredited announcers (one of whom sounded suspiciously like old C. B. himself). Clips from such Hollywood productions as America (1924), Abraham Lincoln (1930), Alexander Hamilton (1931), Show Boat (1936), Man of Conquest (1939) and DeMille's own The Plainsman (1936), The Buccaneer (1938) and Union Pacific (1939) are woven together into a chronological continuity, tracing American history from the Revolutionary War to the "present," which is largely represented by newsreel footage of President Roosevelt, the TVA project, and other current personalities and events. In later years, Land of Liberty was redistributed on the classroom circuit, with new footage added from historical dramas of the 1940s and 1950s. ~ Hal Erickson, Rovi

M.G.M.'s opulent costume drama Marie Antoinette marked a return to the screen after a two-year absence for reigning Queen of M.G.M. Norma Shearer. Shearer plays the title role of an Austrian princess who is married off to Louis Auguste (Robert Morley), the Dauphin of France. Marie, by becoming the Dauphine, finds herself plopped smack in the middle of French palace intrigue between Louis's father King Louis XV (John Barrymore) and his scheming cousin, the Duke of Orleans (Joseph Schildkraut). With Louis unable to consummate his marriage to Marie, she takes to holding elaborate parties and gambling her fortune away. In a casino, she meets the handsome Count Axel de Fersen (Tyrone Power) and they have an affair. But when Louis XV dies and Louis becomes King Louis XVI, Fersen takes his leave, telling her that he could carry on an affair with a dauphine but not the Queen of France. Marie vows to be a great queen and remain loyal to her king. But the Duke of Orleans is plotting against Louis XVI, financing the revolutionary radicals. When the monarchy is overthrown, Louis and Marie are thrown into prison, awaiting execution. But when word gets back to Fersen, he travels back to France in an attempt to rescue Marie. ~ Paul Brenner, Rovi

This saga spans the globe as the three young heroes search for the man who killed their much-admired, beloved father, a cashiered officer who was wrongly dishonorably discharged before he was murdered. Their quest takes them from India to South America, London, Egypt, and the U.S. As the progress, they begin to discover the disturbing truth about the murder of the father they idolized. ~ Sandra Brennan, Rovi

In this tuneful programmer a singer, believing that her husband, a Marine pilot accused of treason, has died in the Pacific, takes a job singing in Shanghai. There she see spies a certain handsome dancer in the club show who looks exactly like her late spouse. The resemblance is too uncanny for him to be anyone else. Surmising that he has amnesia, the singer decides she must somehow get him back and prove his innocence. But this is easier said than done as she soon discovers. ~ Sandra Brennan, Rovi

The third of MGM's profitable Jeanette MacDonald/Nelson Eddy songfests, Maytime opens in the early 20th century, with a young girl arguing with her boyfriend over her wishes to become an opera singer. The girl's neighbor, a lonely old woman whom we gradually recognize as a convincingly "aged" Jeanette MacDonald, tells the girl of her own career in opera. The old lady was once the radiant young diva Marcia Mornay. In 1868 she was the toast of Europe, thanks to the tutelage of her voice instructor Nikolai Nazarov (John Barrymore). He proposes marriage, and Marcia accepts, more out of gratitude than love. In a euphoric pre-nuptial state, Marcia finds herself on Paris' Left Bank, where she meets handsome café crooner Paul Allison (Nelson Eddy). They meet again at a lavish Maytime festival, falling in love (to the accompaniment of Sigmund Romberg's most dazzling duets) in the process. Sadly, Marcia returns to Nazarov, while Paul goes off to America to lick his wounds. Seven years later, Marcia, making her New York debut in a fictional opera based on the works of Tchaikovsky, finds that the leading baritone is none other than Paul. Unable to envision life without her new love, Marcia begs Nazarov for a divorce. He smiles slyly and promises to give her her freedom-whereupon he heads to Paul's apartment and kills the poor fellow. The flashback done, Marcia advises her pretty young neighbor that one can never have both love and a career. Out of tragedy grows the happy ending, in which the spirit of the now-deceased Marcia is reunited with Paul in a blossom-filled Hereafter. On paper, Maytime may seem to be the ultimate in Hoke, but even in recent revival showings the film never fails to cast its spell over an audience. ~ Hal Erickson, Rovi

Playwright Greg Stone (Reginald Denny) spends most of his spare time at the theater where his latest effort is in rehearsals. Stone's new play is a murder mystery, but the various backstage habitues are every bit as suspicious and sinister as the characters onstage. Sure enough, life imitates art when both of the producers are murdered in a manner strikingly similar to a pair of killings in Stone's play. Naturally, this places our hero under suspicion, forcing him to turn amateur sleuth to track down the real culprit. Evelyn Brent, who like Reginald Denny was a major star in silent pictures, is featured as the victims' feisty secretary, in love with Greg Stone but averse to admitting it. ~ Hal Erickson, Rovi

The 12-episode Universal serial Jungle Jim was based on the Alex Raymond comic strip of the same name. Grant Withers stars as Jungle Jim, who on this occasion is leading an expedition into darkest Africa. His employers hope to ascertain the whereabouts of Joan (Betty Jane Rhodes), a young heiress who disappeared in the jungle several years earlier. It turns out that Joan has become the ruler of a small native tribe -- and that she has fallen under the influence of The Cobra (Henry Brandon), a mysterious figure who exercises an evil influence upon her. With Jungle Jim's help, Joan breaks free of The Cobra's spell; now, however, both hero and heroine must make their way back to civilization without being devoured by marauding wildlife. Though Jungle Jim was well received, it would be another 12 years before Columbia's Jungle Jim "B"-movie series began production. ~ Hal Erickson, Rovi

The Leathernecks Have Landed is an adventure yarn revolving around three boisterous marines. Lew Ayres is the headstrong one, James Ellison the sincere one, and Maynard Holmes the roly-poly comic relief. Holmes is killed in a nightclub brawl for which Ayres gets the blame. The real murderers are smugglers; the disgraced Ayres joins the gang to bring them to justice. Republic Pictures must have been entranced by this plotline, since it popped up virtually scene for scene in four subsequent films over the next six years: Forged Passport (39), Rough Rider's Roundup (39 again!), Girl From Havana (40) and Remember Pearl Harbor (42). ~ Hal Erickson, Rovi

Two rich and wealthy millionaires who have a lot of money bet that reporter Robert Pryor can't spend $720,000 in twelve hours. If you're asking "Why $720,000?", the answer is: because this Republic programmer is titled $1000 a Minute . Anyway, a couple of cops spot Pryor flashing a roll of bills, and deduce that he's the bank robber they're looking for. For the rest of the film, Pryor must race around to spend his money, while remaining two steps ahead of the Law. The supporting actors in $1000 a Minute are delightfully cast to type, from Edgar Kennedy as a detective to Sterling Holloway as a helpful cabbie. ~ Hal Erickson, Rovi

Gary Cooper stars in this rousing adventure saga of three British officers of the 41st Regiment of Bengal Lancers of India. The story begins as Lt. McGregor (Gary Cooper) accepts two new officers to his company -- the brash Lt. Fortesque (Franchot Tone) and Lt. Stone (Richard Cromwell), the son of the garrison's commander, Col. Stone (Guy Standing). In an effort not to show favoritism, Stone's father barely acknowledges his son during a parade of the new officers. Lt. Stone resents this treatment by his father and becomes embittered at both his dad and the British army. McGregor is ordered to search for a British spy, Lt. Barrett (Colin Tapley), who has infiltrated the army of crazed chieftain Mohammed Khan (Douglas Dumbrille). The three officers find Barrett, who tells them Khan is planning an uprising against the British, utilizing the mountain tribes for a massive assault. Lt. Stone finds himself captured by the rebels and is taken to Mohammed Khan's mountain fortress to be tortured. Stone's father refuses to send in the lancers to save his son, reasoning that his son was captured to lure the British forces to their doom. Disguising themselves as Indian peddlers, McGregror and Fortesque go off to rescue Stone. But they are soon discovered and taken to Mohammed Khan's lair to be tortured, with Khan telling McGregor, "We have ways of making men talk." Mohammed wants the soldiers to tell him where a shipment of ammunition will be delivered. McGregor and Fortesque withstand the torture without divulging the location, but Lt. Stone cracks and tells Khan what he wants to know. The three officers see the ammunition delivered to Khan's fortress, but then they hear Col. Stone and 300 lancers have arrived outside of Khan's gates. ~ Paul Brenner, Rovi

Socialite Pat Reynolds (Ida Lupino) is forced to become the "smart girl" of the title when her wealthy father commits suicide, leaving nothing but a pile of debts. Pat sets up a successful hat-designing business, providing the sole support for herself and her sister Kay (Gail Patrick). So devoted is Pat to Kay's welfare that she stands by in stoic silence as Kay begins romancing Pat's sweetie Nick Graham (Kent Taylor). But a quick glance at the billing order of the stars should be indication enough as to which sister ends up with Nick at the fade-out. Comedy relief is provided in ample doses by old-timer Joseph Cawthorn and bespectacled crooner Pinky Tomlin, cast as father-and-son haberdashers. ~ Hal Erickson, Rovi