Robert Light Movies

Autumn Born would have been long forgotten had it not been for its star. Playboy model Dorothy Stratten plays a young innocent who withstands the cruelties and sexual assaults of her nasty guardian. In one scene, she is handcuffed to a bed, and the camera stays fixed on her for what seems like forever as she struggles to break free. It's that kind of film. Prior to her ill-fated attempt to escape from her own real-life nasty guardian, Paul Snider, Stratten realized that this was the sort of fare she would have spent her life making if she stayed married to him. Anyone who has seen Bob Fosse's Star 80 (in which Autumn Born is alluded to under the title Wednesday's Child) will be all too familiar with the tragic outcome of the Stratten-Snider relationship. ~ Hal Erickson, All Movie Guide

One of the landmark "screwball" comedies of the 1930s, My Man Godfrey offers the radiant Carole Lombard in her definitive performance as flighty young heiress Irene Bullock, who on a society scavenger hunt stumbles on Godfrey (William Powell), an erudite hobo residing in the city dump. Godfrey becomes the family's butler, much to the dismay of Irene's father Alexander (Eugene Pallette), who thinks his household is crazy enough without another apparent lunatic under his roof. Halfway through the film, we discover that Godfrey isn't a penniless bum at all, but the scion of a wealthy Boston family. Having been burned by an unhappy romance, Godfrey dropped out of life, taking up residence in the dump. Here his faith in humanity was restored by his fellow indigents, who managed to survive and remain optimistic despite the worst deprivations. Meanwhile, however, he wants to straighten out the Bullock family, who he feels are a basically decent bunch beneath all their pretensions and eccentricities -- and along the way, of course, Irene determines that Godfrey will be her husband. While Godfrey's ultimate "solution" to the exigencies of the Depression seems more of a placebo, My Man Godfrey is all in all a totally satisfying jolt of 1930s-style wish fulfillment. ~ Hal Erickson, All Movie Guide

Reckless is a delightfully breezy screwball comedy from the same director (Victor Fleming) and star (Jean Harlow) responsible for the celebratedBombshell (itself a film à clef loosely based on Clara Bow) -- with the added appeal of William Powell. One can readily see the chemistry between the two stars at work, which would lead to their impending marriage at the time of Harlow's death a year later. The sets for the Broadway number that Harlow's Mona Leslie performs in are also extraordinary. Mona Leslie (Jean Harlow) is an up-and-coming Broadway actress, dancer, and singer, who leads a happy-go-lucky, freewheeling lifestyle; bailed out of jail by family friend Ned Riley (William Powell), a sports promoter who loves Mona but won't slow down his lifestyle long enough to give her the satisfaction of admitting it, she performs in a bizarre "benefit" show, only to discover that she has an audience of one, wealthy admirer Bob Harrison (Franchot Tone). He declares his love for her and a romance does develop, but when he proposes marriage, he discovers that his upper-crust set won't accept a showgirl as one of their blue-blood crowd.

Their romance leads to a marriage and desperate unhappiness for all concerned, most of all Harrison, whose basic neurotic nature gets worse as the marriage deteriorates. When Harrison takes his own life, Riley and Mona find themselves accused of every foul deed possible, and when Mona gives birth to a son, a legal battle ensues over custody of the child, with Harrison's family claiming that she is unfit. Finally, Mona decides to fight back -- she gets Harrison's family to stand down by giving up any claim to her late husband's money, but she must now contend with the nation's self-appointed moral guardians. No producer will take the risk of backing a show with Mona in it, but she finally gets a helping hand from Ned Riley. The movie has a few too many changes in tone, which detracts from the verisimilitude. The whole story is a film à clef based on the tragic romance between torch singer Libby Holman and tobacco heir Smith Reynolds (which also provided fodder for such à clef films as Brief Moment, Sing, Sinner, Sing, and Written on the Wind) -- and Harlow's singing is obviously dubbed, just as her dancing is doubled. Also, the songs -- except for the final two numbers -- don't quite fit with the melodrama, and the Damon Runyon-esque comic antics feel completely out of left field at times. But when she and Powell are onscreen together, the film just lofts into the air, past all of those flaws. ~ Bruce Eder, All Movie Guide

In this drama, a hard working printer gets wanderlust, leaves his wife and family, and hits the road. Ten years pass. His wife has become a prominent citizen and runs a big newspaper. He returns, impoverished, and though bitter, she gives him a job as her house servant so he can be near his daughters. Meanwhile, she is being harassed by local mobsters who wreck her printing press to put her out of business. Her estranged husband saves the day, by operating a hand press to help her put out a special edition. Sparks begin to fly, and she comes to forgive him. ~ Sandra Brennan, All Movie Guide

Lyle Talbot stars as "Three Star" Halsey, a hotshot West Coast aviator with a reputation for recklessness. Time and time again, Halsey promises his stewardess sweetheart Judy Wagner (Ann Dvorak) that he'll stop taking risks, and time and again he breaks his word. After several misadventures, Halsey becomes a hero when he prevents a top-secret explosive formula from falling into the hands of the villains -- and as a bonus, solves four airborne murders. Much of the aerial photography in Murder in the Clouds would be reused in such future Warners programmers as Fly-Away Baby and Fugitive in the Sky. ~ Hal Erickson, All Movie Guide