John Beck Movies

The longest-running non-musical play in Broadway history, Life With Father was faithfully filmed by Warner Bros. in 1947. William Powell is a tower of comic strength as Clarence Day, the benevolent despot of his 1880s New York City household. Irene Dunne co-stars as Day's wife Vinnie, who outwardly has no more common sense than a butterfly but who is the real head of the household. The anecdotal story, encompassing such details as the eldest Day son's (James Lydon) romance with pretty out-of-towner Mary (Elizabeth Taylor), is tied together by Vinnie's tireless efforts to get her headstrong husband baptized, else he'll never be able to enter the Kingdom of God. Each scene is a little gem of comedy and pathos, as the formidable Mr. Day tries to bring a stern businesslike attitude to everyday household activities, including explaining the facts of life to his impressionable son. Donald Ogden Stewart based his screenplay upon the play by Howard Lindsey (who played Mr. Day in the original production) and Russell Crouse; the play in turn was inspired by a series of articles written by Clarence Day Jr., shortly before his death in 1933. Due to a legal tangle with the Day estate, Life With Father was withdrawn from circulation after its first run; it re-emerged on the Public Domain market in 1975. ~ Hal Erickson, All Movie Guide

Bedlam is one of the costlier psychological-horror efforts from RKO producer Val (Curse of the Cat People) Lewton. Boris Karloff stars as the supervisor of the notorious 18th century British insane asylum St. Mary's of Bethlehem, better known as "Bedlam." Anna Lee, who co-stars as the feisty mistress of a fatuous government official, is appalled by the miserable treatment afforded the Bedlam inmates and insists that reforms be initiated. The crafty, politically connected Karloff responds by having Lee herself incarcerated in the institution: she is a "willful woman", and therefore must be insane. With the help of a few of the more rational patients, Lee stages a mutiny, capturing Karloff and giving him a mock trial. Though they don't truly intend to harm Karloff, he is seriously injured by one of his tormented patients. Assuming that Karloff is dead, the other inmates wall up his body in the cellar--and as the last brick is put in place, we see Karloff's eyes suddenly open! Though it has it moments of genuine terror, Bedlam is as historically accurate as possible, right down to the archaic dialogue passages. For the most part, the film is an indictment against political corruption, with Karloff (in a terrific, multi-faceted performance) alternately bullying and wheedling to save his own behind. Val Lewton (writing under the pseudonym Carlos Keith) based his film on one of the illustrations in Hogarth's "The Rake's Progress," glimpses of which are seen throughout the film as transitional devices. ~ Hal Erickson, All Movie Guide

One of silent serial queen Pearl White's best efforts, The Iron Claw was remade by Columbia Pictures starring brunette Joyce Bryant as the imperiled heroine. Bryant, alas, was no Pearl White, and needed a strong male lead in order to defeat that master criminal, the Iron Claw. She found him in handsome Charles Quigley, an Academy of Dramatic Art alumni whom the studio was grooming as an action lead. The story line is a bit less confusing this time around; Bryant is the heir to a fortune, which the Iron Claw also desires. Quigley plays Bob Lane, an enterprising reporter who saves the damsel-in-distress over and over again through the serial's 15 chapters. Among the many and various villains skulking about, Forrest Taylor, as Anton, was at his menacing best in The Iron Claw. ~ Hans J. Wollstein, All Movie Guide

When the Daltons Rode is the much-embellished tale of that celebrated outlaw family, the Daltons. Broderick Crawford, Brian Donlevy, Stu Erwin and Frank Albertson play the gunslinging brothers, with Mary Gordon on hand as Ma Dalton. In the tradition of the 1939 western Jesse James, the film whitewashes the Daltons, showing them being forced into committing their crimes by duplicitous railroad interests. There's plenty of comic banter and byplay until about twenty minutes from the end; then the film becomes a nonstop marathon of action, halted only by the Daltons' fateful (and for the most part fatal) bank robbery in Coffeyville, Kansas. Randolph Scott is the nominal hero, a lawyer who befriends the boys and tries to dissuade them from their life of crime. When the Daltons Rode ends with all four brothers dead as doornails--even though the script was based on the autobiography of the surviving Dalton! ~ Hal Erickson, All Movie Guide

Filmed on a microscopic budget, the independently-produced Island Captives is purportedly set in the South Seas (though it looks a lot like Catalina). Hero Tom Willoughby (Eddie Nugent) is one of several seafarers shipwrecked on a remote tropical island. A law unto itself, the island is crawling with murderers, smugglers, forgers and at least one potential rapist. Tom takes it upon himself to shield heroine Helen Carsons (Joan Barclay) and island lass Taino (Carmen LaRoux) from harm. Foremost among the villains is gaunt, bearded Henry Brandon, twixt-and-tween his assignments as Silas Barnaby in Laurel & Hardy's Babes in Toyland and the title character in Drums of Fu Manchu. ~ Hal Erickson, All Movie Guide

John Wayne stars in this Western as a law student seeking revenge on the ruthless land baron who killed his parents; after he is thwarted in the courts, he chooses to explore frontier justice instead. ~ Jason Ankeny, All Movie Guide

This above-average Johnny Mack Brown Western from A.W. Hackel's low-budget Supreme Pictures features the bizarre spectacle of an infant contentedly sucking on the barrel of Mack Brown's gun. The scene is played for warm-hearted comedy with Mack Brown and two wizened gunslingers (Frank Campeau and John Beck) all beaming at the clever toddler. The three gunfighters are hired by Sheriff Horace Murphy and cattle rancher Lloyd Ingraham to drive off the local homesteaders, but when they miss a rendezvous due to their baby-sitting endeavors, Roger Gray and his gang are deputized instead. Gray and company, however, robs both the sheriff and Ingraham before turning their attention toward pretty Beth Marion, the baby's presumed mother. Mack Brown, who reveals himself to be a Texas Ranger in disguise, manages to clear up the mess, arrest the guilty and make the valley safe for the homesteaders. Miss Marion on her part reveals herself to be the baby's aunt and a relieved Mack Brown promises to become a steady caller. Despite a rather complicated plot, Everyman's Law is engrossing most of the way and Mack Brown works well with the dour-looking Campeau and Beck. A scene where the three engage in a bit of target practicing on Miss Marion's laundry is played to the hilt and the entire baby-sitting sequence is an eye-opener, to say the least. The scruffy-looking Gray makes a particularly fiendish villain in his B-Western debut and his climactic fight with Mack Brown is well-staged by director Albert Ray. Johnny Mack Brown was to make 16 low-budget but slightly off-beat Westerns for Supreme Pictures 1935-1937 before moving on to Universal. ~ Hans J. Wollstein, All Movie Guide

When asked in 1970 to recall his participation in RKO Radio's Spitfire, Ralph Bellamy prefaced his comments with a terse "Why don't we just forget about it?" Based on a play by Lula Vollmer, the film stars Katharine Hepburn, phony Ozark accent and all, as Trigger Hicks, an illiterate hillbilly faith healer. A very curious young lady, Trigger prays for the souls of all those around her, but this doesn't stop her from flinging rocks at them when she's upset (which is often!). Romance unexpectedly enters Trigger's life in the form of engineer Stafford (Robert Young) and construction boss Fleetwood (Ralph Bellamy), both of whom are instrumental in saving her from a superstitious lynch mob after she kidnaps an ailing baby "for its own good." Outside of Sylvia Scarlett, Spitfire is Katharine Hepburn's strangest film -- and, sad to say, one of her worst. ~ Hal Erickson, All Movie Guide

Having signed for eight Westerns with poverty row entrepreneur E.W. Hammons, Ken Maynard went on to deliver a series of solid sagebrush entertainment despite non-existing budgets and filming on standing sets at the old, threadbare Tiffany lot on Sunset Boulevard. The opener, Dynamite ranch presented Ken as a cowboy falsely accused of safe-cracking.The robbery was actually committed by villainous foreman Park Owens (Alan Roscoe) but only the rancher's daughter, Doris (Ruth Hall), believes in his innocence. But even she turns against the cowboy when his glove is found on the crime scene. When the assistance of the rancher's accountant (Arthur Hoyt), Ken sets a trap for Owens and manages to clear his own good name. As a sign of changing times in Hollywood, former silent star Jack Perrin appears at the bottom of the cast-list playing one of Owens' henchmen. ~ Hans J. Wollstein, All Movie Guide

Directed by Victor Fleming, Wet Parade chronicles the effects of alcoholism and the Prohibition on the lives of two families from very different backgrounds. The Tarletons reside in New York City, where the family patriarch (Walter Huston) repeatedly drowns himself in liquor and local bars. The Chilcote family has the same type of problem, though they live in the deep south. Colonal Roger Chilcote (Lewis Stone) also drinks heavily, and illegally makes his income by selling moonshine. Ultimately, both families are torn apart by the alcoholism. The two stories collide when Kip Tarleton (Robert Young) and Maggie May (Dorothy Jordan), both children of alcoholic fathers, join in a common fight against alcohol, feeling it was a key factor in the destruction of their lives. Wet Parade also features actor Jimmy Durante in a small role as a bearded federal agent. ~ Tracie Cooper, All Movie Guide

The tall and virile Johnny Mack Brown portrays the short and dyspeptic outlaw William Bonney, a.k.a. Billy the Kid. Wallace Beery is more effectively cast as Pat Garrett, the sheriff who's sworn to bring in Billy dead or alive despite his grudging friendship for the young killer. Hardly the "homicidal moron" described by western historians, the movie's Billy has a certain amount of charm, though he's shown to be a cold-blooded killer when the opportunity arises. The film's ending was shot twice: One ending retained fidelity to the facts by having Garrett kill Billy, while the other denouement allowed Billy to ride into the sunset, as Garrett beatifically looked on. Over the protests of western purists, the second ending was used in the American release version, though the more tragic climax was seen by European audiences. Billy the Kid was originally released in a 70mm widescreen process called Realife; to avoid confusion with MGM's 1941 Billy the Kid, the earlier film has been retitled The Highwayman Rides for television. ~ Hal Erickson, All Movie Guide

When silent star Colleen Moore nervously faced a microphone for her first "sound" test, the results were so positive that virtually every member of the First National executive board shouted unanimously, "Thank God! She can talk!" In the long run, however, it probably wouldn't have mattered if she could have talked or not, since most of her early talkies -- including Smiling Irish Eyes -- were produced by her then-husband John McCormick, who was disinclined to fire his own wife! In her first musical appearance, Moore plays Kathleen O'Connor, an Irish lass in love with would-be songwriter Rory O'More (James Hall). Upon achieving success on Broadway, O'More forgets all about Kathleen and begins dallying with such sophisticated tootsies as Frankie West (Betty Francisco) and Goldie DeVeer (Julanne Johnston). Heading to America herself to be reunited with O'More, Kathleen finds nothing but disappointment and heartache -- not to mention ample opportunities to sing. Adding to the ethnic mix of Smiling Irish Eyes is the presence of two stereotypical Jews, played by William Strauss and Otto Lederer; also on hand is future cowboy sidekick George "Gabby" Hayes, plus teeth and minus beard, as a New York cabbie. ~ Hal Erickson, All Movie Guide