Vince Barnett Movies

While Tonart Studios is filming a gangster movie, one of the actors is killed in a shooting accident. After several other incidents occur, police begin to think of sabotage. Their list of suspects includes the studio chief (Alexander Carr), his manager (Bela Lugosi), the director of the film (Edward Van Sloan) and an actress (Adrienne Ames). ~ John Bush, All Movie Guide

Renowned animal-trainer Clyde Beatty plays himself as a circus owner in this adventure that centers on an enthusiastic youth who idolizes Beatty. The story's highlight is a fight with the lions and tigers. ~ Sandra Brennan, All Movie Guide

This story centers around a love triangle between two construction workers and a girl. The film climaxes with a fight on top of a skyscraper. The story is based on a play called Rivets. ~ Sandra Brennan, All Movie Guide

A large urban hospital provides the setting for this drama. The staff there has seen it all and this is reflected in their hard-bitten demeanor, their cynicism, and the cruel jokes they play. One of them, an excellent surgeon gains a new outlook on life after he gets involved with investigating the death of a mobster, fatally shot in his hotel suite during a card game. The police call him to the scene to look at the corpse. There he discovers a lipstick-stained cigarette butt. He begins to search for the woman who smoked it. Later that day, the woman, severely beaten, shows up in the hospital emergency room. The surgeon miraculously saves her, and then falls for her. As she lays healing, she is seen by a mobster who had come to pay his respects to the cop who killed two members of his rival gang. The mobster later sends one of his thugs to make sure that the woman stays eternally quiet. The thug's attempt to kill her is thwarted by a young intern who is wounded in the ensuing scuffle. The gangster then gets himself admitted into the hospital where he plans to kill the woman himself. This proves to be a fatal mistake as the vengeful intern "accidently" injects the gangster with a deadly poison and then claims that the mobster was D.O.A. The woman is now safe. ~ Sandra Brennan, All Movie Guide

One woman helps make an unknown boxer a star, but could a handful lead him back to obscurity again? Steve Morgan (Max Baer) is a ex-sailor tending bar in a seedy dive when The Professor (Walter Huston), a boxing coach, sees Morgan make short work of a troublesome customer. The Professor convinces Morgan that he has what it takes to be a successful prizefighter, and takes him under his wing. One day, while Morgan is jogging, he's nearly hit by a car operated by an attractive woman named Belle (Myrna Loy), who is making a name for herself as a nightclub singer. Belle has been dating underworld kingpin Willie Ryan (Otto Kruger), but before long Morgan is able to win her away from Ryan, and they get married. Morgan's marriage to Belle turns out to be god for publicity, and soon he's racked up an impressive string of victories, but Morgan can't keep his eyes off other women, and she has reason to believe he's been unfaithful. Belle, despondent, goes back to Ryan, while Morgan starts hitting the bottle, just as he's lined up a championship fight with Primo Carnera. The Prizefighter and the Lady gave heavyweight contender Max Baer his first leading role; a year after the film was released, Baer faced off against Carnera in a real championship bout, which Baer won by a knockout. ~ Mark Deming, All Movie Guide

This drama, made while New York mayor Jimmy Walker was still being reviled by newspapers for similar actions, follows a big-city mayor who loves sports, the theater, the night life, and a beautiful actress. When the press gets a hold of this information and a scandal ensues, he has the actress marry his writer friend to get the media off his back. ~ Steve Huey, All Movie Guide

Completed in mid-1930, Scarface, based on Armitage Trail's novel of the same name, might have been the first of the great talkie gangster flicks, but it was held up for release until after that honor was jointly usurped by Little Caesar and Public Enemy. Paul Muni stars as prohibition-era mobster Tony Camonte, a character obviously patterned on Al Capone (whose nickname was "Scarface"). The homicidal Camonte ruthlessly wrests control of the bootlegging racket from his boss, Johnny Lovo (Osgood Perkins), and claims Lovo's mistress, Poppy (Karen Morley), in the bargain. But while Poppy satisfies him sexually, Tony has a soft spot in his heart only for his sister Cesca (Ann Dvorak). The film's finale is one of the longest and bloodiest of the 1930s, maintaining suspense and concern for the characters involved even though Muni has deliberately done nothing to make Tony likeable to audience. The grimness of Scarface is leavened by a few choice moments of black humor. Forced to leave a stage production of Rain in order to commit a murder, Tony returns to his theater seat and anxiously asks his buddies how the play came out. Some of the film's funniest moments belong to Vince Barnett as the mentally deficient, illiterate gangster secretary, who at one juncture gets so mad at a caller on the phone that he shoots the receiver. Scarface features a famous "'X' Marks The Spot" logo, inspired by news photos of gangland murders: whenever a character is killed, the letter "X" appears on screen in one form or another. Example: When a rival gangster (played by Boris Karloff) is killed at a bowling alley, the camera cuts to his bowling ball knocking down all the pins -- a strike, denoted, of course, by an "X." Producer Howard R. Hughes couldn't release Scarface until he toned down some of the violence, reshot certain scenes to avoid libel suits, added the subtitle "The Shame of the Nation" to the opening credits, and shoehorned in new scenes showing upright Italian-Americans banding together to wipe out gangsterism. After its first run, Scarface was completely withdrawn from distribution on Hughes' orders; the film would not be seen again on a widespread basis until it was reissued by Universal in 1979, shorn of 8 of its original 99 minutes. ~ Hal Erickson, All Movie Guide

Flesh was one of the few big-studio films to deal with the subject of professional wrestling--at least until Hulk Hogan came along in the 1980s. Wallace Beery stars as a thickheaded waiter in a German beer garden who uses his muscles to clear out rowdy patrons. Beery channels his strength into a wrestling career, grappling his way up to the championship. His wife Karen Morley enjoys the creature comforts of Beery's success, but her heart belongs to her ex-lover Ricardo Cortez, and soon Karen is stepping out on her husband. Beery finds out and exacts a terrible revenge on Cortez--just minutes after Karen wises up and realizes she loves Beery after all. John Ford directed Flesh in a heavy Germanic fashion reminiscent of the Emil Jannings "cuckolded husband" melodramas of the 1920s. ~ Hal Erickson, All Movie Guide

Samuel Goldwyn attempted to turn British operetta star Evelyn Laye into another Jeanette MacDonald with this cardboard romance that proved a disaster at the operetta-weary box office. Laye plays Lilli, a demure flower girl at a Budapest theater who worships the show's star, the temperamental and highly flirtatious Fritzi Yajos (Lilyan Tashman), despite the admonitions of her friend Otto (Leon Errol). Fritzi, however, commits one indiscretion too many and the local prefect of police (Henry Kolker) orders her to take a six months "vacation" in the country, but the highly combustible chanteuse is loath to leave her many lovers and convinces Lilli to go in her stead. When the attractive girl arrives in the provincial town of Zuppa, she becomes the target of handsome but shallow Count Mirko Tibor (John Boles), who is merely out to make yet another conquest. Needless to say, the count has fallen head over heels in love with the surprisingly decorous "star," and she with him, when the real Fritzi makes her belated appearance. Miss Laye sings Bruno Granichstaedten, Edward Eliscu, and Clifford Grey's lilting "Along the Road of Dreams"; Nacio Herb Brown's "Heavenly Night (When Evening Is Near)" with John Boles; and "Goodnight Serenade." Lilyan Tashman performs Granichstaedten's "I Belong to Everybody." ~ Hans J. Wollstein, All Movie Guide

This M.F. Hoffman production released through Grand National featured Ken Maynard as Friendly Fields, a mama's boy whose hat is stolen by lookalike bandit Blackie Burke (also Maynard). Obtaining a job on Patty Blair's (Lona Andre) ranch, Friendly scares the girl's enemies into submission by playing up his resemblance to Blackie. Patty gets a bit worried when she begins to believe that he really is Blackie, but the cowboy continues his masquerade until his true identity is revealed by his mother (Grace Wood). By then, however, all the wrongs have been righted and Friendly and Lona agree to meet the future together. Maynard, who fancied himself a crooner, sings -- badly -- "Oh! Susannah" by Stephen Foster, accompanied by fellow Grand National cowboy hero Tex Ritter's backing group. Producer Hoffman quickly had enough of the difficult and often tardy Maynard and sold his contract to the Alexander brothers, low-budget producers who also released through Grand National. ~ Hans J. Wollstein, All Movie Guide

One of the most powerful anti-war statements ever put on film, this gut-wrenching story concerns a group of friends who join the Army during World War I and are assigned to the Western Front, where their fiery patriotism is quickly turned to horror and misery by the harsh realities of combat. Director Lewis Milestone pioneered the use of the sweeping crane shot to capture a ghastly battlefield panorama of death and mud, and the cast, led by Lew Ayres, is terrific. It's hard to pick a favorite scene, but the finale, as Ayres stretches from his trench to catch a butterfly, is one of the most devastating sequences of the decade. The film won Oscars for Best Picture and for Milestone's direction -- and trivia buffs should note that the actors were coached by future luminary George Cukor, while Ayres became a conscientious objector in World War II. The Road Back (1937) followed, and the film was remade for television in 1979. ~ Robert Firsching, All Movie Guide