Vera Lewis Movies

Otis Ferguson has said of Each Dawn I Die that "the story is of the kind you would have to see to disbelieve." And to be sure, the film is nothing more than a sampler of '30s prison-film conventions. But with the brilliant acting by James Cagney and the fast-paced and hard-edged direction of William Keighley, the film clatters past like an express train. Cagney plays Frank Ross, an innocent newspaperman who is railroaded into prison by a corrupt district attorney. In prison, he meets hardened-con Stacey (George Raft). Frank, at first, doesn't want to associate with Stacey and the other prisoners, but trapped in the hellhole prison, he more and more turns into a bitter con. Finally granted a hearing from the parole board, Frank pleads his innocence, but the parole board is headed by Grayce (Victor Jury), the man responsible for his imprisonment, and his parole is denied, and Frank becomes more hardened and embittered. By this point, Stacey has befriended him and agrees to help Frank prove his innocence. ~ Paul Brenner, All Movie Guide

Humphrey Bogart makes his first and last appearance in a horror movie in this film. Though the title implies that it is a sequel to the classic 1932 chiller Dr. X it is not. The terror begins when an eager-beaver reporter stumbles across the corpse of a popular actress who turns up, after much media hoopla, not to be dead at all. At least she seems to be alive on a surface level and is eager to sue the reporter's paper. The reporter can't help but notice that here skin is unnaturally pale and that she keeps her face concealed beneath a long-black veil. Suspecting that evil is afoot, he--who by now is unemployed--launches a private investigation to prove that she really was the corpse he saw. His search leads him into the terrifying world of a psycho blood doctor, and into a series of unsolved murders in which all the victims were found with no blood in their veins. Ultimately, the reporter finds himself face-to-face with the nefarious Dr. Maurice Xavier (Bogart), a man executed several years ago for murdering patients while performing Frankensteinian experiments. ~ Sandra Brennan, All Movie Guide

Unlike many another pre-WW II spy melodramas, Espionage Agent clearly identifies the villains as Germans. Joel McCrea plays Barry Corvall, the son of a recently deceased US diplomat. Boarding a Berlin-bound train, Corvall attempts to swipe a briefcase stuffed with documents which will prove that the Nazis have been infiltrating vital industrial centers in the United States. He is helped along by Brenda Ballard (Brenda Marshall), whose behavior suggests at times that she might not be all that trustworthy. According to the Warner Bros. publicity machine, Warren Duff's screenplay was based on actual events. Coming on the heels of the studio's Confessions of a Nazi Spy, Espionage Agent was indication enough that Warners had declared war on Germany long before President Roosevelt made it official. ~ Hal Erickson, All Movie Guide

Fannie Hurst's Sister Act was the source for this money-making Warners weeper. The four daughters of the title are played by the Lane Sisters--Priscilla, Rosemary and Lola--and by Gale Page. All are musical prodigies, and all are daughters of master-musician Claude Rains. To help make ends meet, Rains rents several rooms of his home to boarders--most of whom, thanks to the dictates of the plot, seem to be marriageable men. We're supposed to care the most about the mutual attraction the daughters feel towards handsome Jeffrey Lynn, but the film really belongs to John Garfield, making his movie debut (no, he wasn't in 1933's Footlight Parade) as an embittered piano genius. Garfield has us in the palm of his scruffy hand the moment he begins philosophizing about "the fates:" "So they flipped a coin...heads he's poor, tails he's rich....they flipped a coin--with two heads." Aware that he can bring only unhappiness to Priscilla Lane, the daughter who cares most for him, Garfield obligingly drives into a heavy snowstorm and is killed in an auto accident (but it's not staged as a suicide, lest the Hays Office spank). John Garfield made so powerful an impression in Four Daughters that Warners was compelled to write him into the sequel Four Wives, first as a flashback and then as (implicitly) a ghost. Another film, Daughters Courageous, was hastily constructed using the same cast, but with different character names so as to accommodate a happier denouement for Garfield and Lane. Four Daughters was remade in 1954 as Young at Heart, with Frank Sinatra and Doris Day in the John Garfield and Priscilla Lane roles. ~ Hal Erickson, All Movie Guide

Edward G. Robinson shines in a fine comic role as Dr. Clitterhouse, a brilliant psychiatrist doing research into the criminal mind. The good doctor wants to gain a clearer understanding of how a thief feels when he's in the midst of a robbery, so strictly for academic purposes he tries to crack a safe at a high society party to which he's been invited. While trying to get rid of the jewels he swiped in the course of this experiment, Clitterhouse makes the acquaintance of "Rocks" Valentine (Humphrey Bogart), the tough-as-nails leader of a group of professional thieves. Clitterhouse is fascinated by Valentine and discovers that he enjoys committing robberies, so he joins forces with Valentine's gang and uses his superior intellect to mastermind a series of daring and profitable heists. Clitterhouse is also beguiled by Jo Keller (Claire Trevor), a beautiful dame who fences stolen gems. But Valentine doesn't appreciate how Dr. Clitterhouse has worked his way into the gang, and he is soon looking for an opportunity to get him out of the picture. The Amazing Dr. Clitterhouse was co-written by John Huston and features several key members of the Warner Brothers stock company in supporting roles, including Allen Jenkins and Donald Crisp. ~ Mark Deming, All Movie Guide

Nancy Drew -- Detective was the first in a series of breezy B-pictures based on the teenaged sleuth created by Carolyn Keene. Bonita Granville is perfectly cast as Nancy, while John Litel and Frankie Thomas are equally effective as Nancy's attorney father, Carson Drew, and erstwhile boyfriend, Ted Nickerson, respectively. Things get under way immediately when Mary Eldridge (Helena Phillips Evans), the wealthy benefactress of Nancy's high school, disappears under mysterious circumstances. In direct defiance of her father's orders, Nancy and Ted set off on their own investigation, which leads inexorably (and dangerously) to a highly suspicious rest home. The "ever popular" Mae Busch is her usual nasty self as a phony nurse. ~ Hal Erickson, All Movie Guide

Dick Powell had already played the poor guy who falls for rich gal in Happiness Ahead (34); Hard to Get is a far superior film in this vein, and with better songs to boot. The wealthy lady in this film is Olivia de Havilland, who at this point in her career specialized in spoiled heiresses. Dick Powell is a gas-station attendant who doesn't recognize de Havilland and refuses to give her credit when her car goes on the blink. She gets even in several nasty ways, but softens when she falls in love with Powell--thanks to a little nudge from her kindly daddy, Charlie Winninger. As in Happiness Ahead, it is the father who financially smooths the path for the loving couple. Powell only has two songs, but one of them is the surefire hit "You Must Have Been a Beautiful Baby." Ironically, the title Hard to Get had been previously been used in 1929 for a silent Warner Bros. comedy about a poor girl falling for a rich boy. ~ Hal Erickson, All Movie Guide

The 1938 filmization of Myron Brinig's novel The Sisters stars Bette Davis, Jane Bryan and Anita Louise as Louise, Grace and Helen Elliot. The daughters of turn-of-the-century druggist Henry Travers and his wife Beulah Bondi, the Elliot girls all meet their future husbands at a 1904 ball in honor of President Teddy Roosevelt. Special emphasis is given the relationship between Louise and reckless, irresponsible newspaperman Frank Medlin (Errol Flynn). Feeling trapped by his marriage, Medlin turns to drink and philandering. When Frank eventually runs off to Singapore, Louise is too proud to hold her husband by informing him that she's pregnant. Caught up in the 1906 San Francisco earthquake (superbly conveyed with a single interior shot of a collapsing apartment), Louise wanders around dazedly until she finds shelter in an Oakland brothel (though it is not so specified). She loses her baby, but is consoled by her employer Ian Hunter, who falls in love with her. The original book ended with Louise giving up her unhappy marriage for a joyous relationship with her boss; the film ends with Louise being reunited with the suddenly sobered Frank (despite the protests of both Bette Davis and Errol Flynn). A prime example of Hollywood Soap Opera, The Sisters also yielded an amusing reel of outtakes, the best of which shows Bette Davis breaking up Errol Flynn by sighing "I've just had a baby in the ladies' room." ~ Hal Erickson, All Movie Guide

"This is New York, Skyscraper Champion of the World...Where the Slickers and Know-It-Alls peddle gold bricks to each other...And where Truth, crushed to earth, rises again more phony than a glass eye..." With this jaundiced opening title, scripter Ben Hecht introduces his classic comedy Nothing Sacred. Fredric March plays Wally Cook, a hotshot reporter condemned to writing obituaries because of his unwitting complicity in a fraud. Anxious to get back in the good graces of his editor Oliver Stone (Walter Connolly), Cook pounces on the story of New England girl Hazel Flagg (Carole Lombard), who is reportedly dying from radiation poisoning. Actually, Hazel isn't dying at all; she's been misdiagnosed by Moscow's eternally drunk doctor (Charles Winninger). But when Cook offers to take her on an all-expenses-paid trip to New York in exchange for her exclusive story, it's too good an offer to pass up. Once in the Big Apple, Hazel is feted as a heroine by the novelty-seeking populac; she enjoys the adulation at first, but soon (and with the help of gallons of alcoholic beverages) suffers the pangs of conscience. She confesses her deception to Cook, who by now has fallen in love with her. Cook and Stone conspire to keep the public from discovering the truth, eventually dreaming up a phony suicide. Travelling incognito to avoid arrest, Wally and Hazel marry and go on a honeymoon, secure in the knowledge that New York City has forgotten all about her and moved on to their next fad. Brimming with witty, acerbic dialogue and hilarious bits of physical business, Nothing Sacred is among the best "screwball" comedies of the 1930s. The musical score by Oscar Levant both mocks and celebrates the George Gershwinesque musical style then in vogue. As an added bonus, the film is lensed in Technicolor (avoid those two-color reissue prints), allowing modern viewers to see what New York City looked liked back in 1937. Nothing Sacred was later adapted into a Broadway musical, Hazel Flagg, which in turn was filmed by Dean Martin and Jerry Lewis as Living It Up (1954), with Lewis in the Carole Lombard role. ~ Hal Erickson, All Movie Guide

Dancing Pirate was the second feature-length production by Pioneer Pictures, whose earlier effort Becky Sharp was the first three-strip Technicolor feature. Pirate was likewise filmed in the three-strip process, but the film is currently available only in its black-and-white reissue version. London and Broadway musical comedy favorite Charles Collins stars as Jonathan Pride, a mild-mannered dance instructor in 1820 Boston. En route to visit relatives, Jonathan is shanghaied by a band of zany pirates and forced to work as a galley boy. When the pirate vessel arrives at the port of Las Palomas, Jonathan, clad in buccaneer's garb, makes his escape. Everyone in Las Palomas, including Governor Alcalde (Frank Morgan) and fetching senorita Serafina (Steffi Duna), assumes that Jonathan is the pirate chieftain, leading to a series of typical comic-opera complications. Featured in the cast are the Dancing Cansinos, whose daughter Rita Hayworth was just beginning her own screen career. The Rodgers & Hart score, like the film itself, is pretty lackluster, but Charles Collins is a pleasing screen personality who should have gone much farther in movies than he did. ~ Hal Erickson, All Movie Guide

Not to be confused with the prominent British film Never Too Late to Mend, which was released in the U.S. in 1937 as Never Too Late, this minor action-adventure from low-budget Reliable Pictures Corp. starred former silent-era stunt man Richard Talmadge and vaudeville performer Thelma White. Talmadge plays a detective on the trail of a gang of jewel thieves headed by the swarthy Paul Ellis. White, meanwhile, gets caught up in the crime, but is in reality only trying to protect her sister (Mildred Harris), the indiscreet wife of the local police commissioner (Robert Frazer). The jewels change hands several times, but the bad guys are finally caught after an exciting rooftop chase. ~ Hans J. Wollstein, All Movie Guide

Eight year old Paddy O'Day (Jane Withers) arrives at Ellis Island after a long sea voyage from Ireland, to be with her mother. But her mother is nowhere to be found when the ship docks, and the authorities are notified that Mrs. O'Day has died, only a few days ago -- the little girl will have to be sent back. Paddy has only been told that her mother is ill, and manages to sneak out off the island. After encountering a group of street urchins who try to make trouble for her -- and proving that she's got what it takes to take care of herself -- she makes her way to the large mansion on Long Island where her mother works, and learns the truth. The home is owned by Roy Ford (Pinky Tomlin), a studious upper-class bird fancier who has been browbeaten into life as an eccentric collector of stuffed birds by his two overbearing aunts (Vera Lewis, Louise Carter) -- their intention is to notify the authorities if Paddy shows up. But the servants, led by kindly maid Jane Darwell and initially unwilling butler Russell Simpson, decide to hide the child in the house while the aunts are away. Paddy chances to meet Roy, who takes a liking to her and decides to try and help her as well -- and when Paddy's very pretty shipboard friend Tamara Petrovich (Rita Cansino) shows up, along with her restauranteur cousin Mischa (George Givot), he starts to really come out of his shell. Mischa and Tamara will hide the little girl, and Mischa -- with help from a beverage new to Roy, called vodka -- convinces the young millionaire that there is a future in investing in his establishment. Roy likes the loosening up effect that vodka has on him, and also likes even more being around Tamara, and he soon becomes a new man -- not only a partner in the business, but a performer in the stage show that Mischa works up for his now-expanded restaurant/night club, which includes Paddy along with Tamara. But Roy's aunts have returned home, and are as appalled by their nephew's new, joyful approach to life as they are by his apparent infatuation with an immigrant girl and her family. They hire an investigator (Clarence H. Wilson) to try to prove that Roy is mentally incompetent, and he soon discovers that the little Irish waif working in the act is in the United States illegally, a fact that, once reported to the authorities, will get not only get Paddy deported by Tamara as well. ~ Bruce Eder, All Movie Guide