Allan Lane Movies

This college musical chronicles the travails of a college football star who wants to quit playing. To stop him, the conniving coach enlists the aid of a flirtatious co-ed who tries to use her many charms to coerce the lad into staying on the team. She succeeds and the boy falls deeply in love with her. When she realizes that he is serious, she stops seeing her latest beau, and the professes her love to the football player. This inspires him to go on and win the big game. Songs include: "One Minute Of Heaven," "I Gotta Have You," "Hello Baby," "Huddlin'." ~ Sandra Brennan, All Movie Guide

The second of Cecil B. DeMille's talkies (as well as his second for MGM), Madam Satan is an exercise in incoherence, but this doesn't detract one iota from its entertainment value. Kay Johnson plays the sedate wife of philandering Reginald Denny, who is currently carrying on with "jazz baby" Lillian Roth. In a desperate effort to win back her husband, Johnson disguises herself as the alluring, provocatively clothed "Madame Satan." In this guise, she attends a lavish charity costume party being thrown by socialite Roland Young on a dirigible moored high above New York Harbor. Failing to recognize his mousey little wife, Denny arranges for a rendezvous with Madame Satan. When she reveals her true identity, Denny is outraged and threatens divorce. Suddenly, the dirigible is struck by lightning; it breaks loose from its moorings, tossing its terrified passengers around and about. Denny behaves heroically in shepherding the passengers into their parachutes; meanwhile, Johnson gives up her own parachute to save Roth. Coming to the mutual realization that each is worthy of the other's love, Johnson and Denny are reunited. Though when taken out of context, the dirigible sequence appears to be the ultimate in campy melodrama, this scene and all the scenes that built up to it are played for laughs: DeMille didn't take this farrago any more seriously in 1930 than we do today. Highlights include several unexpected and charmingly innapropriate musical numbers, including a bizarre "Ballet Mechanique" featuring dancer Theodore Kosloff. Though DeMille carefully threw in every ingredient that he hoped would appeal to a mass audience, Madam Satan was one of his few box office flops. ~ Hal Erickson, All Movie Guide

William Wellman's Night Nurse survives as a potentially interesting but ultimately unsatisfying melodrama about a nurse discovering evildoings in the household where she is caring for a couple of sick children. Based on a 1930 novel by Dora Macy, Wellman's probe into medical corruption is one of the director's more cynical looks on Depression-era America, but most of the characters are weakly drawn and the denouement a cheat, cinematically. Barbara Stanwyck plays Lora Hart, an ambitious student nurse whose first assignment after graduation is tending to a couple of deathly ill little girls, Nanny (Marcia Mae Jones) and Desney (Betty Jane Graham). Despite their posh surroundings, the girls are apparently suffering from malnutrition; their mother, Mrs. Ritchey (Charlotte Merriam), is hopped-up on bootleg booze ("I'm a dipsomaniac! A dipsomaniac I tell ya! And I like it!"), and the girls' physician (Ralf Harolde) is a society quack with a facial tick. Lora soon realizes that the good doctor is deliberately starving the children to death in order to gain access to their trust fund and that Mrs. Ritchey is kept in line by Nick (Clark Gable), a black-clad gangster posing as the family chauffeur. A desperate Lora proposes to contact the authorities, but her medical sponsor (Charles Winninger) deems that unethical and instead suggests that she find a solution from inside the family. Nearly at the end of her ropes -- and having accepted one too many blows to the chin from Nick -- Lora is saved by an admirer, good-natured bootlegger Mortie (Ben Lyon), whose "friends" take the evil chauffeur on a final "ride." None of this makes much sense, and the film appears to have been tampered with along the way. One of the children disappears without any explanation halfway through, and the hospital establishment's reticence is never properly explained. Instead of a coherent plot, Night Nurse, in typical pre-Production Code style, offers quite a few scenes of Barbara Stanwyck and fellow nurse Joan Blondell dressing and undressing and a rather brutal portrayal by a very young Clark Gable on the threshold to fame. Warner Bros. had borrowed Gable from MGM to play the despicable chauffeur when the original choice, James Cagney, suddenly proved too valuable a commodity for what was actually a supporting role. ~ Hans J. Wollstein, All Movie Guide

Edward G. Robinson and James Cagney were teamed for the only time in their careers in Smart Money. Robinson has the larger part as a small-town barber who fancies himself a big-time gambler. He travels to the Big City in the company of his younger brother Cagney, who wants to make sure that Robinson isn't fleeced by the high-rollers. Unfortunately Robinson has a weakness for beautiful blondes, most of whom take him for all his money or betray him in some other manner. The cops aren't keen on Robinson's gambling activities, but they can pin nothing on him until he accidentally kills Cagney in a fight. The incident results in a jail term for manslaughter, and a more sober-sided outlook on life for the formerly flamboyant Robinson. Watch closely in the first reel of Smart Money for an unbilled appearance by Boris Karloff as a dope pusher. ~ Hal Erickson, All Movie Guide

In this swashbuckling melodrama, set in Budapest, a seductive gold-digger becomes the mistress of a wealthy old man. She, with the assistance of her lover, a swordsman, soon comes to rule his house and keeps her elderly husband's family in line by intimidating them. Her ploys work well until the old man's nephew comes back from the Foreign Legion and boots her out of the house. ~ Sandra Brennan, All Movie Guide

George S. Kaufman's sturdy stage comedy The Butter and Egg Man was the inspiration for no fewer than four Warner Bros. talkie versions. The first of these was The Tenderfoot, starring Joe E. Brown as a wealthy but naive cowboy alone in the Big Apple. The producers of a down-and-out musical revue hope to convince Brown to put his money in their show, sending out cute chorine Ginger Rogers as the "convincer." After having his heart broken a few times and tangling with gangsters, Joe comes through and the show goes on. Warners followed The Tenderfoot with a 1937 musicalization of Butter and Egg Man, Dance Charlie Dance; this in turn was remade as An Angel From Texas in 1942. The final variation on this theme (so far!) was Three Sailors and a Girl (53). ~ Hal Erickson, All Movie Guide

William Powell plays a condemned murderer who is being transported from Hong Kong to San Quentin by way of a luxury liner. Also on board is the lovely Kay Francis, who is suffering from a fatal heart condition. The sympathetic detective (Warren Hymer) escorting Powell allows the prisoner to roam the decks without handcuffs, an opportunity Powell exploits by arranging an escape with two of his old cronies (Frank McHugh and Aline MacMahon). But when he meets Francis, Powell falls in love. Francis is equally smitten, and the two conduct an exquisite shipboard affair, neither telling the other of their impending doom. Powell makes his escape, but is halted in mid-flight when Francis has a heart attack. He rushes Francis back on board ship to her doctor, knowing full well that this will mean his recapture. As they bid goodbye, Powell and Francis promise to meet again one year later in Agua Caliente--a rendezvous that neither will survive to keep. A year passes. At a bar in Agua Caliente, two cocktail glasses suddenly shatter, as if having been joined in a toast by unseen hands. One Way Passage was remade in 1940 as 'Til We Meet Again. ~ Hal Erickson, All Movie Guide

Don Ameche is called upon to testify in his married friends' divorce case. Unwilling to take sides, he skips town and hides out at a country inn. A young girl (Ann Sothern) stumbles into Ameche's rural hideaway; she thinks he's an escaped gangster, while he thinks she's a process server. The local sheriff (John Qualen), who also believes Ameche is a gangster, converges on the inn during a snowstorm. Trapped inside by the snow and by the deputies, Ameche and Sothern fall in love. The real gangster (Douglas Fowley) is captured and there's smiles all around at "The End" time. ~ Hal Erickson, All Movie Guide

Not a remake of the classic Laurel and Hardy 2-reel silent of the same name, Big Business was an early entry in 20th Century-Fox's Jones Family series. Mr. Jones (Jed Prouty) invests his life savings in an oil business, at the behest of football star Allan Lane. Neither Jones nor Lane are aware that the oil stock is worthless, and that their money has ended up in the pockets of racketeers. Awareness dawns when the oil wells yield only muddy water. Jones' oldest son (Kenny Howell) comes to the rescue of the hapless investors, while Mrs. Jones (Spring Byington) dispenses the "I told you so"s. ~ Hal Erickson, All Movie Guide

The film is called Laughing at Trouble, but feisty female newspaper publisher Glory Bradford (Jane Darwell) doesn't waste much of her time laughing. Using her paper as a forum, Glory does her best to clear innocent John Campbell (Allan Lane) of a trumped-up murder charge. When John escapes from jail, he hides out in Glory's home, a circumstance she takes in her usual stride. Figuring out the identity of the actual murderer, the publisher employs a bit of unorthodox (and frankly unethical) trickery to force a confession. Laughing at Trouble puts the lie to the long-held assumption that Jane Darwell never played a movie leading role until The Grapes of Wrath. ~ Hal Erickson, All Movie Guide

The RKO Radio backlot gets quite a workout in the peppy "B" comedy-mystery Fugitives for a Night. When movie executive Maurice Tenwright (Russell Hicks) is murdered, the prime suspect is would-be actor Matt Ryan (Frank Albertson). As stooge and "gopher" for arrogant rising star Poole (Bradley Page), Matt is a ready-made fall guy, much to the chagrin of the only person who truly cares for him, studio publicist Ann Wray (Eleanor Lynn). With the cops hot on their trail, Matt and Ann run off into the night, spending the rest of the film as the titular fugitives. Only when Ann convinces Matt to stop living in Poole's shadow and to stand on his own two feet does he gather up the gumption to solve the murder. Fugitives for a Night was the first of many RKO Radio assignments for celebrated screenwriter Dalton Trumbo. ~ Hal Erickson, All Movie Guide

RKO Radio's ace short-subjects director Leslie Goodwins graduated to features with the economically produced Crime Ring. Allan Lane plays a hotshot newspaperman who takes on a phony spiritualist ring. The crooked soothsayers are in league with a band of stock swindlers, coercing the gullible into parting company with their life savings on the advice of the "dear departed." Teaming with unemployed actress Frances Mercer, Lane poses as a potential sucker to draw out the bad guys. Lane and Mercer prove to be too clever for their own good, however, and it's problematic as to whether or not they'll survive until the closing credits. Crime Ring was partially remade in 1950 as Bunco Squad. ~ Hal Erickson, All Movie Guide