Lucille La Verne Movies

Produced by M.H. Hoffman's Liberty Pictures, School for Girls is based on Reginald Wright Kauffman's story Our Undisciplined Daughters. It all begins when innocent heroine Annette Eldridge (Sidney Fox) gets mixed up with a slimy jewel thief. Taking the rap for her boyfriend, Annette ends up doing a three-year stretch in a girl's reformatory, where she's subjected to the sadistic excesses of brutal matron Miss Keeble (Lucille La Verne) (the same actress who later provided the voice of the Wicked Queen in Disney's Snow White and the Seven Dwarfs). Thankfully, young prison-board appointee Gary Waltham (Paul Kelly) dedicates himself to helping Annette -- and by extension, the rest of the unfortunate female inmates. The supporting cast of School for Girls reads like a "B"-picture Who's Who: Lona Andre, Russell Hopton, Kathleen Burke, Fred Kelsey, Edward Le Saint, and former silent-film favorites Anna Q. Nilsson, Charles Ray, Myrtle Stedman and Helene Chadwick. ~ Hal Erickson, Rovi

Based on a Zane Grey story, The Last Trail stars virile cowboy hero George O'Brien in a largely anti-heroic role. Escaping from a posse, the "good bad man" (O'Brien) boards an Eastbound train, where he strikes up a friendship with a genial gangster (J. Carroll Naish). Later on, the cowboy returns to the West as a member of the gangster's gang. He poses as the heir to a vast cattle ranch, never dreaming that he really is the heir. When the truth is revealed, the wayward cowboy switches to the side of the Law, while another of the gangster's flunkeys (Claire Trevor) reveals herself to be an honest newspaperwoman -- and thus a suitable candidate for romance. Like all of Fox's Zane Grey programmers, The Last Trail boasts excellent production values and crystal-clear photography. ~ Hal Erickson, Rovi

Apparently inspired by Noel Coward's Bitter Sweet, Beloved is a lush, lachrymose musical romance set in Vienna, South Carolina and New York City. John Boles stars as Austrian composer Carl Hausmann, whose musical career is very nearly cut short during the 1848 revolution. Carl is whisked off by his mother (Dorothy Peterson) to the American South, where he establishes a respectable reputation in the years just prior to the Civil War. Forced to relocate to New York with his new bride Lucy (Gloria Stuart), Carl languishes professionally for several years, then gives up composing to support his wife and child as a music teacher. Tragedy strikes once more during the Spanish American War, when the Hausmann's son is killed. Carl and Lucy invest all their love in their grandson Eric (Morgan Farley), a Gershwin type who grows up to become a jazz musician in the post-WWI era. As Eric grows richer and more successful, the Hausmanns continue to live in genteel poverty, with Carl all the while struggling to finish the symphony he began so many years before. After an unpleasant episode in which Eric accuses Carl of "stealing my stuff," our nonagenarian protagonist finally hears his symphony in a radio broadcast arranged by his chastened grandson. Contented at last, Carl peacefully passes on. Ironically, leading lady Gloria Stuart was far more attractive when she really reached her 80s than when she was heavily made up as an old woman in Beloved. ~ Hal Erickson, Rovi

In this western, a lawman restores law and order in town. He also stops a greedy horseman from trapping wild stallions with barbed wire traps. In the end the villain gets his just desserts when he is trampled by the king of the wild horses during a stampede. The hero saves the herd from the deadly wire by riding out ahead and turning them at the last minute. ~ Sandra Brennan, Rovi

In this drama, a politician must deal with the aftermath of a young girl's damning accusation. ~ Sandra Brennan, Rovi

The moral of this drama could very well be for people to exercise caution with what they wish for as they just might get it. So it is with the lovely young woman who wins a beauty contest and the love of a millionaire, two things she had aspired to for ages. Unfortunately, her wealthy hubby is terribly possessive and occasionally, completely insane. One night, the husband really goes nuts and tries to feed his bride to the dogs. Fortunately, he slips and ends up dead himself. Later the sadder but wiser girl goes back to the man who has really loved her all along. ~ Sandra Brennan, Rovi

While Paris Sleeps is a grim expose of the European white slave trade. To save his daughter Manon (Helen Mack) from falling into the hands of a vicious gang of pimps, convict Jacques Costard (Victor McLaglen) escapes from jail. Jacques' problems are twofold: he must keep Manon from being abducted into a life of prostitution, and he must also hide his true identity from the girl, who has been raised to believe that Jacques died a hero in WWI. The film's gruesome "money scene" finds the white slavers disposing of a stool pigeon by incinerating him in a huge bakery oven! Can this be the handiwork of the same Allan Dwan who later directed Shirley Temple's Rebecca of Sunnybrook Farm? ~ Hal Erickson, Rovi

A clever, slyly self-satirical screenplay by Ben Hecht and Charles MacArthur helps to make The Unholy Garden seem better than it is. The title refers to a Saharan oasis where a group of international crooks have converged, free from prosecution. Ronald Colman stars as gentleman thief Barrington Hunt, who rallies his fellow crooks together in a plan to divest a wealthy baron (Dudley Digges) of his fortune. Part of the scheme requires Hunt to make love to Fay Wray, the baron's lovely daughter, a task that proves pleasurable indeed. But Hunt hadn't counted on falling in love with Wray -- and when he does, it's "reformation and redemption" time, with our hero turning on and turning in his former pals. Among the reprobates within Hunt's orbit are such veteran screen heavies as Warren Hymer, Lucille LaVerne and Lawrence Grant, the latter chewing the scenery as a discredited doctor who keeps the skull of his murdered wife in a jar! ~ Hal Erickson, Rovi

24 Hours is all it takes for tippling married man Jim Towner (Clive Brook) to go from social respectability to convict stripes. Upset that his wife Fanny (Kay Francis) has been unfaithful, the wealthy Jim weaves drunkenly from one nightclub to another. He falls for a cabaret performer (Miriam Hopkins) and begins an affair. The girl is killed by her gangster boyfriend (Regis Toomey), but Jim is arrested for the crime. Released from prison, the chastened Jim returns to his wife, who has vowed to remain loyal to her husband. 24 Hours was based on a novel by Louis Bromfield. ~ Hal Erickson, Rovi

The first "talkie" gangster movie to capture the public's imagination, Mervyn LeRoy's Little Caesar started a cycle of crime-related movies that Warner Bros. rode across the ensuing decade and right into World War II with titles such as All Through the Night (1941). At the start of the picture, Caesar Enrico "Rico" Bandello (Edward G. Robinson, made up to look a lot like the real-life Al Capone) and his friend Joe Massara (Douglas Fairbanks Jr.) are robbing a gas station -- later on, at a diner, they're looking over a newspaper and see a story about Diamond Pete Montana (Ralph Ince), a gangster so well known that he gets headlines and stories written about how powerful he is. That's what Rico wants, more than money or anything else: to be czar of the underworld and "not just another mug." Joe admits that sometimes he just thinks of trying to become what he wanted to be when he started out: a professional dancer. They head east to Chicago (which is never named, but with the talk of the north side and the territories, you know what city it is) and Rico talks his way into the local mob run by Sam Vettori (Stanley Fields). The leader has his doubts over how quick Rico is to go for his gun, but also thinks he might be useful if he is as fearless as he says and can be kept under control.

Soon Rico is Sam's top enforcer and bodyguard, but it isn't long before he starts acting like the boss, questioning other members' loyalty and bravery and pushing into Sam's role as leader. He also commands the loyalty of the gang through his resourcefulness at planning and pulling jobs that are tough and risky, and getting away with them; the only exception is Joe, their respectable "front man," who has found romance with an actress (Glenda Farrell) and a career, and wants out of helping the gang. Rico won't let him leave, and pushes him to help them on a brazen New Year's Eve robbery of a restaurant, during which the new crime commissioner is shot dead by Rico. Now the heat is on, but instead of keeping a low profile, Rico seizes control of the gang from Sam and secures his power by ruthlessly rubbing out the only member (William Collier) who seems likely to squeal, gunning the man down on the steps of a church. Before long, Rico is the first among equals among the local mob chieftains, sharing a dais at a dinner honoring him with his nominal boss and one-time idol Diamond Pete. He's also making enemies by the bushel -- Flaherty (Thomas E. Jackson), the cop heading the investigation into the murder of the commissioner, won't let up and makes it his personal business to nail Rico, and the rival chieftains don't like the publicity Rico's getting or the attention it brings to all of them. Rico survives attempts on his life and consolidates his hold on the streets, and is suddenly on the edge of achieving his goal -- the "Big Boy" (Sidney Blackmer), the wealthy social Brahmin who really controls crimes in the city, invites him to a meeting to tell him that Diamond Pete is finished. Rico is going to be in charge of the rackets across the entire city and making sure the local bosses stay in line. He is at the pinnacle of his career, and then Rico overreaches -- he can still be nailed for the murder of the commissioner, and is paranoid enough not to trust Joe, even though Joe helped saved Rico's life and insists that he'll never squeal; Rico also plans on supplanting the Big Boy. His rise to power unravels as fast as it happened, in an outburst of violence that drives him underground. But with an ego as big as his, Rico can't stay hidden for too long, and Flaherty is waiting for him.

The violence in Little Caesar may seem tame by today's standards -- although seeing a proper print of the movie, such as the 2005-issued DVD, does restore some of that impact -- but it was shocking at the time, and proved riveting and even seductive, especially because it was tied to a very charismatic performance by Robinson. Between his portrayal and the sounds of pistols and Thompson submachine guns, the movie was a sensory revelation and literalized the violence that had been suggested purely by visuals in such silent gangster classics as Josef Von Sternberg's Underworld (1927), itself yet another telling of a version of Capone's story. The language was also something newly coarse and bracing in movies, at a point when talkies were only a couple of years old. There's also a slightly homoerotic undertone to aspects of the character relationships that managed to get past the censors: Rico doesn't drink and seems uninterested in women; his fixation on Joe Massara, and his seeming competition for Massara's loyalty with the latter's fiancée, are couched in what seem like almost romantic terms; and his feeling of betrayal when Massara says he wants to leave the mob to get married seem almost more appropriate to someone caught in a romantic triangle. This is all made especially vivid when Rico laments not having killed Massara, admitting that he's been undone over "liking a guy too much." It's all nearly as striking as some of the more pointed psychological elements in subsequent gangster movies, including Tony Camonte's incestuous fixation on his own sister in Scarface (1932) and, at the far end of the cycle, Cody Jarrett's mother-fixation in White Heat (1949). ~ Bruce Eder, Rovi

To date, this D.W. Griffith epic is the only talking-picture effort to encapsulate the entire life of Abraham Lincoln, from cradle to grave. The script, credited to Stephen Vincent Benet, manages to include all the familiar high points, including Lincoln's tragic romance with Ann Rutledge (Una Merkel, allegedly cast because of her resemblance to Griffith favorite Lillian Gish), his lawyer days in Illinois, his contentious marriage to Mary Todd (Kay Hammond), his heartbreaking decision to declare war upon the South, his pardoning of a condemned sentry during the Civil War, and his assassination at the hands of John Wilkes Booth (expansively portrayed by Ian Keith). This was D.W. Griffith's first talkie, and the master does his best with the somewhat pedantic dialogue sequences; but as always, Griffith's forte was spectacle and montage, as witness the cross-cut scenes of Yankees and Rebels marching off to war and the pulse-pounding ride of General Sheridan (Frank Campeau) through the Shenandoah Valley. Thanks to the wizardry of production designer William Cameron Menzies, many of the scenes appear far more elaborate than they really were; Menzies can also be credited with the unforgettable finale, as Honest Abe's Kentucky log cabin dissolves to the Lincoln Memorial. As Abraham Lincoln, Walter Huston is a tower of strength, making even the most florid of speeches sound human and credible; only during the protracted death scene of Ann Rutledge does Huston falter, and then the fault is as much Griffith's as his. Road-shown at nearly two hours (including a prologue showing slaves being brought to America), Abraham Lincoln was pared down to 97 minutes by United Artists, and in that length it proved a box-office success, boding well for D.W. Griffith's future in talkies (alas, it proved to be his next-to-last film; Griffith's final effort, The Struggle was a financial disaster). ~ Hal Erickson, Rovi

Just as Reginald Denny could only play an all-American boy until talkies revealed his British accent, Conrad Nagel could only have played a hillbilly with his glorious voice silenced. He's the star of this silent drama, based on the play by Lula Vollmer. Lucille LaVerne, who played Ma Cagle on stage, repeats her role here. Ma Cagle, a mountain woman of the Carolinas, has lost both her father and her husband to lawmen and, firmly believing in "an eye for an eye," waits for her son Rufe (Nagel) to reach maturity so he can exact revenge. But the World War breaks out and Rufe goes to fight in France. He is reported to be killed in action, and Ma's only comfort is a young stranger (George K. Arthur), who has deserted from a nearby training camp. Only later does she discover that the youth is the son of the man who killed her husband. Rufe, it turns out, has not been killed, but he returns home a changed man. He no longer believes in killing for revenge, and much to Ma's disgust, he refuses to shoot the stranger and lets him go free. But Rufe's ideals are put to the test when his sweetheart, Emmy Todd (Pauline Starke), is raped by Sheriff Weeks (Sam DeGrasse). He is tempted to revert to the ways of the hills, but he overcomes his baser emotions and instead marches the sheriff off to jail. This picture was Edmund Goulding's directorial debut. ~ Janiss Garza, Rovi