Mona Barrie Movies

The third of actor Hugo Haas' endeavors as producer-director, Strange Fascination is at least superficially better and more original than the first two. While it's true that Haas once more deploys the theme of a middle-aged man falling hopelessly in love with a much-younger woman, he eschew his usual fondness for melodrama in favor of sentiment. Haas plays Paul Marvan, an international renowned concert pianist. Marvan's career goes into eclipse almost immediately after his marriage to the beautiful Margo (Cleo Moore, in the first of her many Hugo Haas films). It isn't anyone's fault, really: it is simply that Cruel Fate is dead set against Mr. and Mrs. Marvan ever enjoying true happiness. The grimly ironic finale of Strange Fascination is proof positive that there is, indeed, a long long time from May to December. ~ Hal Erickson, Rovi

The fifth entry in Columbia Pictures' "Rusty" series, about a boy and his dog, My Dog Rusty returns to the focus of the first three entries, tensions within the Mitchell family between young Danny (Ted Donaldson) and his father Hugh (John Litel). Danny's constant lies, each told for a good purpose but found out at the worst possible time, have already caused stress between father and son, and Hugh's campaign for mayor of Lawtonville doesn't make their relationship any less strained. In order to prove he can handle responsibility, Danny takes a job assisting the new doctor, Antonia Cordell (Mona Barrie). When several of Danny's friends fall ill, Dr. Cordell takes water samples from around town, trying to determine the source of the apparent contamination; but an accident in the lab, caused by Rusty and covered up by Danny, soon results a panic that intrudes on Danny's father's campaign for mayor. And when the truth comes out -- an event with tragic consequences for Danny's good friend Joshua Michael Tucker (Whitford Kane) -- Danny realizes that he has damaged the reputations of both Dr. Cordell and his own father, as well as doing terrible harm to his friend. He feels he has no choice but to leave home, but Rusty won't let the boy run away that easily, and follows him. ~ Bruce Eder, Rovi

This was the second entry in Pine-Thomas' film series based on the popular radio show Big Town. Philip Reed and Hillary Brooke return respectively as Steve Kilgore, crusading editor of the Illustrated Daily Press, and Steve's plucky Gal Friday Lorelei Kilbourne. In this one, Steve suspects that hard-luck Harry Hilton (Frank Wilcox) has been framed on a murder rap. Investigating on his own, our hero uncovers a conspiracy to bring financial ruin to a construction firm. He also discovers that the person behind it all is the actual murderer. A few scattered laughs are provided when Lorelei faces male chauvinism upon taking over the responsibilities of the Daily Press' police-beat reporter. To avoid confusion with the television version of Big Town, I Cover Big Town was retitled I Cover the Underworld for TV. ~ Hal Erickson, Rovi

In this entry in the Crime Doctor series, amateur sleuth Dr. Ordway is duped into giving one of his patients a fatal shot. Now he must find the real killers before he is arrested and put away for life. ~ Sandra Brennan, Rovi

The Whistler, mysterious narrator of the radio series of the same name, "knows many things" for he "walks by night." This time the unseen whistler knows all about mentally disturbed artist Richard Dix, whose first wife died under mysterious circumstances. Wife Number Two (Leslie Brooks) begins to suspect that Dix's earlier spouse may have been murdered, and that the artist was the killer. In a tense finale, the second wife uses psychological warfare to turn the tables on the homicidal Dix. This was the sixth in the film in the "Whistler" series produced by Columbia in the mid-1940s. ~ Hal Erickson, Rovi

In this entry in the "Lone Wolf" series, the sleuth and former jewel thief, the Lone Wolf finds himself accused of killing a blackmailer in front of the three women he was harassing. ~ Sandra Brennan, Rovi

Hot on the heels of his starring turn in The Mad Doctor of Market Street, Lionel Atwill was top-billed in another chiller-diller, The Strange Case of Dr. Rx. Somebody has been going around murdering known criminals who've escaped prosecution thanks to crooked lawyer Dudley Crispin (Samuel S. Hinds). That someone has also left a calling card at the site of each murder, signed "Dr. Rx". Private eye Patric Knowles suspects at first that the elusive murderer is sinister Lionel Atwill, whose "red herring" status is so obvious from the outset that his character name is Dr. Fish! Before the actual killer's identity is revealed, the audience is kept awake by the comic antics of Mantan Moreland and Shemp Howard, both of whom are far funnier than their material. ~ Hal Erickson, Rovi

The Rough Riders--Buck Jones, Raymond Hatton and Rex Bell--endeavor to provide a wagon train safe passage through Indian country. With Jones heading the caravan and Bell and Hatton working undercover, the threesome discover that the "savages" planning to attack the settlers are actually renegade whites. The criminals' target is the shipment of railroad supplies being carried in one of the wagons. Normally, the third "Rough Rider" would have been played by Colonel Tim McCoy, but when McCoy was called to active duty in World War II, he was hastily replaced by old-time western star Rex Bell. Dawn on the Great Divide was the last film for Buck Jones, who was killed in the infamous Coconut Grove fire shortly before the film was released. ~ Hal Erickson, Rovi

Irene Dunne plays a flibbetygibbet socialite who inherits a farm in Arizona. She can't seem to manage either her money or her private life, thus seeks advice from outside sources. Irene falls in love with fledgling Manhattan psychiatrist Patric Knowles, and marries him in the hope that he'll solve all her problems. Lady in a Jam was advertised as one of the most expensive comedies ever made; the studio was banking on the reputations of star Irene Dunne and director Gregory LaCava to draw crowds. But when the film failed (it shifted emotional gears a bit too often for 1942 film fans), both the lady and the gentleman found their careers in "a jam"--from which Dunne recovered but LaCava didn't. ~ Hal Erickson, Rovi

This musical chronicles the history of jazz music and features many of the most popular musical acts from the early 1940s, including Gene Krupa and Benny Goodman. The story centers on a trumpet player who falls for a young woman with an equal passion for music. Unfortunately, the girl is still grieving for her true-love whom she lost during the war. The trumpeter begins working to get the girl to trust her. He simultaneously tries to start a band. Songs include: "Goin' Up the River" (Dave Torbett, Leith Stevens), "You Made Me Love You" (Joseph McCarthy, James V. Monaco), "Only Worry for a Pillow," "Chicago Ragtime" (Stevens), "Under a Falling Star" (Rich Hall, Stevens, sung by Connie Boswell), and "Slave Market" (Hall Johnson). ~ Sandra Brennan, Rovi

W.C. Fields heads to Esoteric studios to pitch a story idea to producer Franklin Pangborn. The producer wants to make a conventional romantic musical starring Fields' niece, teen-aged soprano Gloria Jean, but "The Great Man" has other ideas. As Pangborn sits in dumbfounded silence, Fields unravels an incoherent farrago which begins with him travelling to a Russian colony in Mexico--by way of an airliner with an open observation platform. Fields dives from the plane when his precious flask of gin falls overboard; he lands safely at the mountaintop mansion of the formidable Mrs. Hemoglobin (Margaret Dumont). Playing a kissing game with Hemoglobin's beauteous daughter (Susan Miller), who has never seen a man before, Fields decides to make a quick exit when Mama wants to get in on the game too. Reunited with Gloria Jean in the Russian colony, Fields learns that Mrs. Hemoglobin is worth millions, so he climbs back up the mountain, ignoring such obstacles as a displaced African gorilla. Disposing of his rival Leon Errol, Fields is about to wed Mrs. Hemoglobin, but is talked out of it at the last moment by Gloria Jean. At this point in the narrative, producer Pangborn can stand no more. He tells Fields to take his nonsensical screenplay and vacate the premises. After a brief episode at a soda fountain ("This scene was supposed to be in a saloon, but the censors made us cut it out"), Fields drives off to new adventures with his niece--but not before a zany slapstick car-chase finale, prompted by Fields' mistaken belief that he's rushing a corpulent middle-aged lady to the maternity hospital. W. C. Fields' original screenplay for Never Give a Sucker an Even Break (written under the fanciful pseudonym of Otis Criblecoblis) made a lot more sense than what ended up on screen, but Fields' extended absences from the studio, coupled with Universal's desire to reshape the film into a vehicle for their new star Gloria Jean, necessitated a complete restructuring of the plot. While hardly Fields' best or most representative film, Sucker is an excellent example of the sort of nonsensical "nut" humor in vogue in 1941 thanks to Olsen and Johnson's Hellzapoppin'. And, occasionally, the film stands still long enough to allow W. C. Fields to mutter a priceless aside or toss off a perfectly timed double-take. ~ Hal Erickson, Rovi

Strange Skirts is the TV title of the 1941 MGM film When Ladies Meet. The film was a remake of a 1933 production of the same name, which starred Ann Harding, Myrna Loy and Spring Byington; their roles were taken over in the remake by Greer Garson, Joan Crawford and Spring Byington. Both films are based on a Rachel Crothers play about a lady novelist who falls in love with a married publisher. The novelist (Crawford) meets the publisher's wife (Garson) at the home of a chatterbox society matron (Byington). The fact that the 1941 version was forced to undergo the censor's scissors to a greater extent than the 1933 film was compensated by the later version's lusher production values, which earned an Academy Award nomination for MGM art director Cedric Gibbons and Randall Duell. Under both its original title When Ladies Meet and its TV-dictated cognomen Strange Skirts, this dated but enjoyable film has become a "standard" on the various cable TV services of Ted Turner. ~ Hal Erickson, Rovi