Bobby Barber Movies
Bobby Barber was in at least 160-odd movies and television shows that we know about; there's no telling the actual number of films that this bit player -- who was almost more recognizable for his round face (topped with a bald head) and large, round, bulging eyes than for his voice -- actually showed up in. And for all of those dozens upon dozens of appearances, his only regular, prominent screen credits derived from his work in connection with a pair of comedians for whom he played a much more important role offscreen.Barber was a character actor and bit player, born in New York in 1894, who had some experience on-stage before coming to movies in the 1920s. His earliest known screen credit dates from 1926, in the Lloyd Hamilton feature Nobody's Business, directed by Norman Taurog; Taurog was also the director of the next movie in which Barber is known to have appeared, The Medicine Men (1929), starring the comedy team of Bobby Clark and Paul McCullough (which also included a young Sylvia Field and Symona Boniface). By the 1930s, Barber had moved up to bit parts in major films, including the Marx Brothers features Monkey Business (1931) and Horse Feathers (1932). Virtually all of Barber's work was uncredited, as he bounced between feature-film roles that involved perhaps a single scene and shorts -- the latter starring such popular funnymen of the time as Andy Clyde and Harry Langdon -- that gave him somewhat more to do. Sometimes Barber was little more than a face, albeit a funny, highly expressive face, in a crowd, as in his jail-cell scene in Pot o' Gold (1941). He played innumerable waiters and shopkeepers, sometimes with accents such as his thick Italian dialect in his one scene (albeit an important one) in Boris Ingster's Stranger on the Third Floor. In 1941, Barber began working with Bud Abbott and Lou Costello, a pair of burlesque comics who had just burst to stardom on the screen. He shows up as one of the sailors in the finale of their movie In the Navy, and the radio engineer who gets a comical electric shock from Costello's antics in Who Done It? In later movies with the duo, Barber would even get a line or two, as in Abbott and Costello Meet Frankenstein (1948), in which he plays a waiter in a scene with Lon Chaney Jr. But his work for the pair involved far more than these bit parts -- Barber was basically kept on the Abbott and Costello payroll to be their resident "stooge," to hang around and help them work out gags, and also to work gags on them and on anyone else working with and for them, so that the performances on film would never seem stale. Barber is highly visible in a pair of outtakes from Abbott and Costello Meet Frankenstein, playing gags on Costello and also on Bela Lugosi. Barber and Costello (who was the more outgoing of the pair) had an especially close backstage friendship, whether playing cards or playing practical jokes on each other. This relationship eventually came to be reflected onscreen when The Abbott & Costello Show went into production in 1952. Barber was in most of the episodes, sometimes playing as many as three different roles in a single 25-minute show; he can also be spotted, from the back, no less -- his physique and walk being that distinctive -- in one episode ("Hillary's Birthday") in the establishing shot of the supermarket.
Barber kept working in feature films during the later part of his career, again portraying countless waiters, bellhops, and even a cart driver in the high-profile MGM production Kim (1950). He could play sinister, as in The Adventures of Superman episode "Crime Wave," or just surly as in the underrated Western A Day of Fury. He moved on to working with Dean Martin and Jerry Lewis as well, in Pardners (1956) (directed by Norman Taurog), and also showed up in serious dramas such as Career (1959) and To Kill a Mockingbird (1962), as well as Elvis Presley's pictures (Blue Hawaii). But it was Barber's interactions with Lou Costello, right up to the latter's final film (The 30 Foot Bride of Candy Rock), with which he is most immortalized, especially on the two seasons of The Abbott & Costello Show (where his real name was even once used, in a comedic variant -- "Booby Barber" -- in a sketch that didn't involve him). ~ Bruce Eder, All Movie Guide
- 1944
The usual modus operandi for Hollywood "through the years" sagas was to gradually age its young actors in the course of the film. In Mrs. Parkington, 35-year-old Greer Garson appears in old-lady makeup for virtually the entire 124-minute running time, even though this filmization of Louis Bromfield's best-selling novel covers the years 1875 through 1938. Eightyish widow Mrs. Susie Parkington (Garson) gathers together all of her grown children in an effort to bail out son-in-law Amory Stilham (Edward Arnold), who's gotten in Dutch through crooked financial deals. As the children and grandchildren bicker over the "impossibility" of giving up any part of their inheritance, Mrs. Parkington's mind wanders back to her marriage to wealthy mine owner Maj. Augustus Parkington (Walter Pidgeon) and her own efforts, as an unlearned Nevada serving girl, to fit into proper Manhattan society. Augustus' ex-love Aspasia Conti (Agnes Moorehead, in a surprisingly sexy role) is engaged to teach Susie the in and outs of which fork to use and how low to curtsy. Shut out by the "400," Susie is avenged by her husband, who wheels and deals to ruin the snobs financially. Later on, he assuages his anger by conducting several extramarital affairs, before perishing in one of those convenient movie auto accidents. Just how all these incidents strengthen Mrs. Parkington's resolve to rescue her wastrel son-in-law is a mystery that even two viewings of this overlong soap opera may not solve. Incidentally, Greer Garson isn't the only one who is prematurely aged in Mrs. Parkington; keep an eye out for 27-year-old Hans Conried, convincingly playing a doddering musician. ~ Hal Erickson, All Movie Guide
- Starring:
- Greer Garson, Walter Pidgeon, (more)
- 1944
Paulette Goddard and Sonny Tufts, two of the stars of director Mark Sandrich's wartime morale-booster So Proudly We Hail, were reunited in Sandrich's I Love a Soldiers. Looking gorgeous in bib overalls, Goddard plays defense-plant welder Eva Morgan, who avoids romance but gives generously of her time at the local GI canteen. One evening, soldier Dan Kilgore (Sonny Tufts) saunters into the canteen; Eva takes one look at the handsome hunk, and it's love at first sight, despite her vow to steer clear of romantic entanglements. Upon learning that Dan is already married, however, Eva bitterly breaks off the relationship. She is drawn back to him when he insists he's about to get a divorce, but renounces him again-not because she doesn't believe his divorce story, but because she feels that he'd be more valuable on the battlefield if he could only get his mind off women. Boy, is this a period piece! Outside of its stars, I Love a Soldier affords excellent acting opportunities for a number of character actresses, especially Mary Treen in a role specifically written for her. ~ Hal Erickson, All Movie Guide
- Starring:
- Paulette Goddard, Sonny Tufts, (more)
- 1943
Beverly Ross (nn Miller) is a would-be radio personality, but the closest she gets to being on the air is running the switchboard at a local station. Worse yet, the blustery station owner Mr. Kennedy (Tim Ryan) wants no part of programming "jive" (i.e., swing music) that she loves, preferring the classics. But she manages to con Vernon Lewis (Franlin Pangborn), the host of the station's early morning classical show, into believing that he needs a vacation and slips into his time-slot at 5 am, where she starts running records by Bob Crosby's band, Duke Ellington, Count Basie, and Frank Sinatra in place of Beethoven and Mendelssohn. The soldiers at the local army base pick up on the new show, and two of them, wealthy candy company magnate Barry Lang (William Wright) and his former chauffeur Andy Adams (Dick Purcell, decide they want to meet this new disc jockey, and as luck would have it her brother (Larry Parks) is in their platoon and invites them to his home. But the two men decide to switch identities, Barry denying his wealth and pretending to be Andy, and Andy presenting himself as the candy heir Barry -- and as if matters aren't complicated enough for Beverly, coping with their antics, she has to fight to keep her radio show. But when the soldiers listening to her start writing in by the thousands, and Barry suggests she call her 5am show "Reveille," she takes it one step further and "Reveille With Beverly," and becomes a smash. But can she sort out the intertwining romantic overtures of the two men in her life? ~ Bruce Eder, All Movie Guide
- Starring:
- Ann Miller, William Wright, (more)
- 1943
The Abbott & Costello vehicle Hit the Ice started life as satire of health clinics, with Lou Costello cast as a hypochondriac who used a streetcar conductor's change-purse to dispense pills to himself. By the time the film hit the screens, it was a standard A&C melange of comedy, music and fast-paced chase scenes, with nary a pill in sight. Bud and Lou are cast as would-be photojournalists Flash and Tubby, who inadvertently snap a picture of two bank robbers leaving the scene of the crime. Accused of knocking over the bank themselves, our heroes find it expedient to hide out at a Sun Valley ski resort. Here they tie up with Silky Fellowsby (Sheldon Leonard), the mastermind of the bank heist, who is led to believe that Flash and Tubby are a couple of Detroit "hit men". In the course of events, Tubby falls in love with Silky's girl Marcia Manning (Ginny Simms), romancing her by pretending (with Flash's dubious assistance) to be an accomplished concert pianist. The final confrontation with the crooks leads to an elaborate chase on skis, with all manner of hilarious (and wildly impossible) sight gags. The barely necessary romantic subplot involves doctor Bill Elliot (Patric Knowles) and nurse Peggy Osborne (played by Elyse Knox, the mother of actor Mark Harmon). Best bits: the classic "packing-unpacking routine, a zany skating sequence, and the old "I'll bet I can stand next to you and you can't touch me" chestnut. Hit the Ice was Lou Costello's last film before rheumatic fever kept him off screen for a full year. ~ Hal Erickson, All Movie Guide
- Starring:
- Bud Abbott, Lou Costello, (more)
- 1942
Produced by silent-film comedian Harold Lloyd, My Favorite Spy is a vehicle for bespectacled bandleader Kay Kyser, who resembles Lloyd more than somewhat. Just before embarking on his honeymoon with new bride Terry (Ellen Drew), Kyser is drafted into the Army. Proving to be a monumentally inefficient soldier, our hero is nonetheless pressed into service by US intelligence officer Major Allen (Moroni Olsen). It seems that Nazi agents have been passing secrets in the nightclub where Kyser's band performs, and Allen wants Kay to act as a counter-espionage agent. To maintain his cover, Kay is discharged from the army in disgrace, and is ordered to noisily make himself a "security risk", so that Nazi chieftan Robinson (Robert Armstrong) will invite Kay to join his spy operation. Trouble is, Kyser must keep his espionage activities secret from everyone-even his wife Terry, who is growing ever more impatient over Kay's unexplained absences from her boudoir. Making matters worse, Kyser is teamed with glamorous blonde secret agent Connie (Jane Wyman), whom Terry understandably suspects of being Kay's clandestine sweetheart. A multitude of slapstick situations follow, culminating in a wild chase through an abandoned theater, with Kay Kyser making like Harold Lloyd to rescue his wife from the Nazis. As directed by Tay Garnett, Kyser's ongoing marital woes seem more pathetic than funny; in addition, his Secret Service cohorts come off as the most sadistic bunch of "good guys" in screen history, bursting with laughter every time Kay's wife throws him out of their apartment. Even so, My Favorite Spy has a few genuine laughs, especially in the final reels. ~ Hal Erickson, All Movie Guide
- Starring:
- Ellen Drew, Jane Wyman, (more)
- 1942
It's Dorothy Lamour again, sarong and all, in the South Seas wish-dream Beyond the Blue Horizon. Lamour plays Tama, a daughter of the jungle who heads to the US to claim an inheritance. For publicity purposes, press agent Squidge (Jack Haley) tries to team Tama with his client, circus lion tamer Jakra (Richard Denning). As it turns out, Jakra is compelled to return to the South Seas with Tama to obtain positive proof that she is indeed sole heir to her family's fortune. The climax finds Jakra putting his animal-taming skills to practical use when a rogue elephant goes on a rampage. One suspects that audiences in 1942 didn't believe this one either. ~ Hal Erickson, All Movie Guide
- Starring:
- Dorothy Lamour, Richard Denning, (more)
- 1942
With only a minimal romantic subplot and no music whatsoever, Who Done It? is pure, undiluted Bud Abbott and Lou Costello, and a good mystery on its own to boot. Bud and Lou star as Chick Larkin and Mervyn Milgrim, a pair of soda jerks who aspire to become radio detective-show writers (their latest epic is "The Midget Gets the Chair-or, Small Fry"). Invited by their radio-scrivener pal Jimmy Turner (Patric Knowles) to attend a broadcast of the "Murder at Midnight" program, Chick and Mervyn are on hand when network president Colonel Andrews (Thomas Gomez) is murdered just before delivering a vital patriotic message. While waiting for the official police to show up, Chick and Mervyn decide to try to solve the case on their own, thereby securing their reputations as writers. The boys manage to convince everyone-even the real killer-that they're genuine gumshoes, only to be exposed when the real cops, Moran (William Gargan) and Brannigan (William Bendix) arrive on the scene. Ultimately, the murderer is revealed, leading to an exciting rooftop chase, with poor Mervyn suspended between two skyscrapers on a slender electrified wire. The comic highlights of Who Done It? are too numerous to mention here, but they include Mervyn's misadventures in the radio-transcription room, his confrontations with a wise-guy page boy (Walter Tetley), his "Not watts, volts!" exchange with the exasperated Chick, and an athletic interlude with those world-famous tumblers, the Flying Bordellos (sic!). Best bit: Upon winning a quiz program, the boys eagerly turn on their prize, a portable radio--only to turn it off in disgust when Abbott and Costello sign on the air ("Every time you hear those guys, it's 'Who's on First-What's On Second!'") ~ Hal Erickson, All Movie Guide
- Starring:
- Bud Abbott, Lou Costello, (more)
- 1941
When the film rights to its "Saint" series proved too expensive to renew, RKO Radio came up with a lookalike property in the form of "The Falcon", even engaging George Sanders, the best of the "Saint" impersonators, to play the studio's newest gentleman detective. The Gay Falcon opens as Gay Lawrence (Sanders) -- aka the Falcon -- is hired to guard a priceless diamond. When the owner of the gem is murdered, suspicious immediately falls upon Lawrence's ex-con chauffeur Goldie (Allen Jenkins). Two more killings occur before Lawrence is able to uncover the insurance scam behind it all. Along the way, he romance a pair of toothsome leading ladies, Helen (played by series regular Wendy Barrie) and Elinor (Anne Hunter). Hans Conried contributes a sparkling bit as a snide police sketch artist. ~ Hal Erickson, All Movie Guide
- Starring:
- George Sanders, Wendy Barrie, (more)
- 1941
Hold That Ghost was the second of Abbott and Costello's starring films, but was held back from release in favor of their third picture, the more "topical" In the Navy. In Ghost, Bud and Lou play a couple of service-station owners who happen to be hanging around when gangster Moose Mattson (William B. Davidson) is killed. According to the terms of Mattson's will, whosoever is present when "the coppers dim my lights for the last time" will inherit his estate, which consists of a deserted mansion in the middle of nowhere. Crooked attorney Russell Hicks, who knows that Mattson has hidden hundreds of thousands of dollars somewhere in the lodge, dispatches sinister Charlie Smith (Marc Lawrence) to escort Abbott and Costello to the house, with instructions to "take care" of the trusting boys once they've arrived. Charlie charters a bus to take A&C out to the mansion; also on board, going off to various other destinations, are handsome Dr. Jackson (Richard Carlson), lovely Norma Lind (Evelyn Ankers) and professional radio screamer Camille Brewster (Joan Davis). It is inevitable that this disparate group is stranded along with Abbott and Costello in the forbidding mansion on a dark and stormy night. Charlie Smith is promptly murdered by parties unknown; throughout the rest of the film, Charlie's body pops up at the most inopportune moments, reducing the already tremulous Costello to a quivering mass of jello. The plot is merely an excuse to showcase Abbott and Costello's superbly timed cross-talking routines, a riotous impromptu dance performed by Costello and Joan Davis, and, of course, the legendary "moving candle" bit, which may well be Costello's funniest-ever screen scene. Hold That Ghost was originally designed and previewed as a 65-minute programmer title Oh, Charlie, but Universal decided to expand the length and throw in a few guest stars to secure top-of-the-bill bookings. This is why Hold That Ghost begins and ends with barely relevant musical numbers featuring Ted Lewis and the Andrews Sisters. ~ Hal Erickson, All Movie Guide
- Starring:
- Bud Abbott, Lou Costello, (more)
- 1940
Though he doesn't speak his first line of dialogue until the film's final ten minutes, Peter Lorre spiritually dominates the fascinating RKO melodrama Stranger on the Third Floor. The plotline is carried by John McGuire, playing Ward, a newspaper reporter whose courtroom testimony sends the hapless Briggs (Elisha Cook Jr). to the death house. Ward is certain that he saw Briggs leaving the scene of a murder, but as the days pass, he is tortured by guilt and doubt -- especially during the film's surrealistic knockout of a nightmare sequence. When another murder is committed, Ward finds himself as much a victim of circumstantial evidence as the unfortunate Briggs. The reporter's girlfriend (Margaret Tallichet) tries to clear Ward....and that's when she first makes the acquaintance of Lorre, who is heard ordering a pound of raw meat! Stranger on the Third Floor was a "film noir" long prior to the genesis of that cinematic movement. Long ignored or trivialized by film historians, this 7-reel quickie has in recent years graduated to classic status. ~ Hal Erickson, All Movie Guide
- Starring:
- Peter Lorre, John McGuire, (more)
- 1940
Like its predecessors, this third cinema version of Sidney Hoiward's Pulitzer Prize-winning play They Knew What They Wanted suffers from Hollywood censorship. Still, this story of the grim consequence of a misbegotten mail-order marriage has much to offer. Carole Lombard is superb as the waitress who lies about herself while carrying on a romance by correspondence with the Italian-born owner of a Napa Valley vineyard. Equally fine (if a shade too effusively hammy) is Charles Laughton as the grape grower, who also misrepresents himself in his letters, going so far as to pass off a photograph of handsome hired hand William Gargan as a picture of himself. Vowing to be loyal to her new husband Laughton, despite her distaste for him, Lombard nonetheless enters into an affair with Gargan. For the most part, the film moves along harmoniously. It falters only in the censor-dictated alterations (why is Lombard crying at the end?) and the horrendous performance by Frank Fay as a sanctimonious priest. Keep an eye peeled during the engagement party for a young, unbilled Karl Malden and Tom Ewell. Previous versions of They Knew What They Wanted included The Secret Hour (1928) and A Lady in Love (1930). ~ Hal Erickson, All Movie Guide
- Starring:
- Carole Lombard, Charles Laughton, (more)
The story goes that such stars as Fred MacMurray, Jack Oakie and Burns & Allen had turned down The Road to Singapore before the leading roles went to Bing Crosby and Bob Hope. More conventionally structured than future "Road" efforts, the film casts Crosby as Josh Mallon, the irresponsible son of shipping magnate Joshua Mallon IV (Charles Coburn). Though the elder Mallon wants his son to enter the family business and marry longtime fiancee Gloria Wycott (Judith Barrett), Josh would rather pal around with his carefree sailor buddy Ace Lannigan (Bob Hope). On the eve of his wedding, Josh escapes with Ace to Singapore, where the two of them cook up a get-rich-quick scheme involving a highly unreliable spot remover. The boys' friendship is strained when they both fall in love with cabaret dancer Mima (Dorothy Lamour), who is on the lam from her jealous partner Caesar (Anthony Quinn). Hiding out from the authorities, the three protagonists wind up in the midst of a native ceremony, where Ace and Mima rescue Josh from a hasty marriage to a local temptress. When Gloria shows up to drag Josh back to the altar, Mima nobly gives him up, pretending to be in love with Ace. Eventually, however, big-hearted Ace realizes that Mima belongs with Josh, and thus concocts another scheme to lure his pal back to the Far East. Though many of the earmarks of the "Road" series are evident in Road to Singapore (the "patty-cake" bit, the presence of such guest stars as Hope's radio stooge Jerry Colonna, etc.), the film lacks the spontaneous quality of the later Hope-Crosby-Lamour starrers. Even so, it's an awful lot of fun, especially when Bob and Bing team up on the novelty number "Captain Custard" and Dorothy croons her requisite "moon and stars" romantic ballads. ~ Hal Erickson, All Movie Guide
- Starring:
- Bing Crosby, Dorothy Lamour, (more)
- 1938
James Stewart and Ginger Rogers were "an item" when Vivacious Lady was filmed, and their obvious real-life affection for one another pours over onto the screen. Stewart plays Peter Morgan, a young botany professor who while on a visit to New York impulsively marries free-spirited nightclub singer Francey (Rogers). A few obstacles lie in the path of connubial bliss, however, including Peter's bitchy ex-fiancee Helen (Frances Mercer) and his stern college-dean father Peter Morgan Sr. (Charles Coburn). Hoping to break the news of his marriage gently to Helen and his father, Pete contrives to keep the union a secret, with the expected embarrassing results. Before the final fade-out, both Morgan Senior and Morgan Junior are on the outs with their respective wives, and it takes an uproariously tearful reunion on a passenger train to straighten things out. In his first outing as a producer, director George Stevens shows off his two-reel-comedy training with a number of hilarious comedy setpieces (the best is a slapsticky cat-fight between the two rivals for Pete's affections), though things tend to slow down towards the end. Stevens also finds room for several of his favorite character actors, including Grady Sutton, Franklin Pangborn and Willie Best, to do their time-honored specialties. Best of all is Beulah Bondi as James Stewart's mother (one of several such assignments), delivering a most unusual and touchingly funny performance. In short, Vivacious Lady was a guaranteed box-office smash even before the cameras began to turn. ~ Hal Erickson, All Movie Guide
- Starring:
- Ginger Rogers, James Stewart, (more)
- 1938
Harold Lloyd plays a professor of Egyptology, frightened by the notion that he has fallen under an ancient Egyptian curse. Lloyd has the opportunity to join an archeological expedition to search for a missing tablet that will determine his fate, but he has to travel from Los Angeles to New York before the party sails to Egypt. Alas, Lloyd is also required to appear in court to answer charges of "indecent exposure" (it's a long story). The rest of the film is a frantic chase with the authorities pursuing the fugitive professor across the country, highlighted by a daredevil sequence atop a moving train. Most of the individual gags are funny, but Professor Beware is several notches below the standard set by Harold Lloyd's silent films. The lukewarm boxoffice response to this film would convince Lloyd that he should retire from performing--which he did, returning to the screen only for 1947's Sins of Harold Diddlebock. ~ Hal Erickson, All Movie Guide
- Starring:
- Phyllis Welch, Raymond Walburn, (more)
- 1937
In this screwball comedy, Valentine Ransome (Barbara Stanwyck) is an heiress who falls for Jonathan Blair (Herbert Marshall), a carefree playboy who owns part of a large steamship line. However, Valentine doesn't especially like Jonathan's brassy fiancé, Carol Wallace (Glenda Farrell), and thinks he needs to start taking a more serious attitude about his money and his investments. To teach Jonathan a lesson (and get closer to him in the process), Valentine arranges to buy enough stock in the shipping company that she's the majority owner, and begins giving him orders about how things should be done. Jonathan isn't about to stand for that, and set off for a cruise on one of his ships, with Carol in tow and every intention of having the ship's captain marry them. But Jonathan's sidekick Butch (Eric Blore) doesn't like Carol any more than Valentine, and seizes every available opportunity to throw a spanner into the works. The same year that the versatile Barbara Stanwyck starred in this comic trifle, she received an Oscar nomination for her dramatic work in the movie Stella Dallas. ~ Mark Deming, All Movie Guide
- Starring:
- Barbara Stanwyck, Herbert Marshall, (more)
After retiring from a boxing career, Johnny Cave (James Cagney) accepts an appointment to serve as head of the Bureau of Weights and Measures. However, when he discovers that his organization is full of corruption and lies, he sets out to uncover the scam, much to the dismay of his girlfriend, Janet (Mae Clarke), and his underhanded coworkers. ~ Iotis Erlewine, All Movie Guide
- Starring:
- James Cagney, Mae Clarke, (more)
This episodic satire of the Machine Age is considered Charles Chaplin's last "silent" film, although Chaplin uses sound, vocal, and musical effects throughout. Chaplin stars as an assembly-line worker driven insane by the monotony of his job. After a long spell in an asylum, he searches for work, only to be mistakenly arrested as a Red agitator. Released after foiling a prison break, Chaplin makes the acquaintance of orphaned gamine (Paulette Goddard) and becomes her friend and protector. He takes on several new jobs for her benefit, but every job ends with a quick dismissal and yet another jail term. During one of his incarcerations, she is hired to dance at a nightclub and arranges for him to be hired there as a singing waiter. He proves an enormous success, but they are both forced to flee their jobs when the orphanage officials show up to claim the girl. Dispirited, she moans, "What's the use of trying?" But the ever-resourceful Chaplin tells her to never say die, and our last image is of Chaplin and The Gamine strolling down a California highway towards new adventures. The plotline of Modern Times is as loosely constructed as any of Chaplin's pre-1915 short subjects, permitting ample space for several of the comedian's most memorable routines: the "automated feeding machine," a nocturnal roller-skating episode, and Chaplin's double-talk song rendition in the nightclub sequence. In addition to producing, directing, writing, and starring in Modern Times, Chaplin also composed its theme song, Smile, which would later be adopted as Jerry Lewis' signature tune. ~ Hal Erickson, All Movie Guide
- Starring:
- Charles Chaplin, Paulette Goddard, (more)
