Arthur Loft Movies

Substantially, Lupe Velez' Columbia vehicle Redhead from Manhattan was the same as her previous RKO starrers-boisterous, unsubtle, and immensely profitable. La Lupe plays a dual role, as twin sisters named Rita and Elaine. Escaping from a torpedoed ship, Rita shows up in New York, where she takes the place of her Broadway-star sister Elaine, who's having problems with her marriage and needs to make a short but quick getaway. Naturally, neither Elaine's husband (Gerald Mohr) nor Rita's saxophone-player boyfriend (Michael Duane) are aware of the switch. Anyone who can't figure out what happens next should be drummed out of the theater in disgrace. And as always, a little of Lupe Velez goes a long, long way. ~ Hal Erickson, All Movie Guide

This Roy Rogers musical western gets off to a grim start when rancher Jerry Johnson (Jerome Cowan) is murdered by resort-hotel operator Lucky Miller (John Carradine). It's all part of Lucky's scheme to take financial advantage of a railroad right-of-way construction project. Conspiring with the villain is Johnson's mail-order bride Mary Hardigan (Phyllis Brooks)-or is she? No matter: the main plot complication concerns the efforts by Miller to frame Roy Rogers, Johnson's ranch foreman, for the murder. Somehow, Roy, Bob Nolan and the Sons of the Pioneers find time for several songs, while ace stuntman Yakima Canutt gets to perform one of his more famous feats. ~ Hal Erickson, All Movie Guide

More so than most wartime films, Mission to Moscow must be viewed within the context of its times. Requested by President Roosevelt to make a film supportive of America's Russian allies, Warner Bros. turned to the memoirs of Ambassador Joseph H. Davies, who spent several years prior to WWII in the Soviet Union. As played by Walter Huston, Davies is a pillar of incorruptable integrity, reporting the facts "as I saw them" (only in later years was Davies revealed to be something less than a paragon of virtue who was willing to alter opinions for political, personal and financial expedience). Sent to Moscow by FDR as a means of finding out if Russia is a potentially trustworthy ally in case of war, Davies and his family are given the royal treatment by the Commissars, who display the social, technological, agricultural and artistic advances made under the Stalin regime. Invariably, the Russian citizens are shown to be singing, smiling, freedom-loving rugged individuals-in contrast to the Nazis, who are depicted as humorless automatons. In its efforts to present the USSR in the best possible light, the film glosses over the notorious Purge Trials of 1937, presenting the trials as scrupulously fair and the defendants as unabashed traitors to the Soviet cause. At one point, Russia's annexation of Finland in 1939 is "justified" by Davies' explanation that the Soviets merely wanted to protect their tiny neighbor from Nazi domination! It is unfair to label Mission to Moscow as Communistic or even left-wing, since it was merely parroting the official party line vis-a-vis US/Soviet relations in 1943. Even so, screenwriter Howard Koch found it very difficult to get film work after the war because of his contributions to this "Pinko" project (conversely, Jack Warner pulled a Pontius Pilate, washing his hands of the matter by insisting that he was strongarmed into making the film). Seen objectively, Mission to Moscow is top-rank entertainment, superbly and excitingly assembled in the manner typical of Warners and director Michael Curtiz. The huge cast includes Gene Lockhart as Molotov, attorney Dudley Field Malone as Winston Churchill, Maynart Kippen as a benign, pipe-smoking Stalin, Charles Trowbridge as Secretary Cordell Hull, Leigh Whipper as Hailie Selassie, Georges Renavent as Anthony Eden and Alex Chirva as Pierre Laval, along with the more familiar faces of Ann Harding (as Mrs. Davies), George Tobias, Eleanor Parker, Moroni Olsen, Minor Watson, Jerome Cowan, Duncan Renaldo, Mike Mazurki, Frank Faylen, Edward van Sloan, Louis-Jean Heydt, Monte Blue, Robert Shayne and even Sid (sic) Charisse. Original prints of Mission to Moscow include a 6-minute prologue delivered by the real Joseph Davies. ~ Hal Erickson, All Movie Guide

In the tradition of his earlier Carnival in Flanders and Tales of Manhattan, director Julien Duvivier's Flesh and Fantasy is a "pormanteau" film, consisting of several short stories. Linking the three tales unfolded herein are clubmen Doakes (Robert Benchley) and Davis (David Hoffman), who carry on a spirited debate about Destiny. In the first story, homely Henrietta (Betty Field) is made beautiful through the love of handsome Mardi Gras reveller Michael (Robert Cummings)-and the help of an enigmatic mask-maker (Edgar Barrier). The second story, based on Oscar Wilde's "Lord Arthur Saville's Crime", concerns a fortune teller named Septimus Podgers (Thomas Mitchell) who predicts that socialite Marshall Tyler (Edward G. Robinson) will commit a murder. In the final tale, psychic high wire artist Paul Gaspar (Charles Boyer) dreams that he will meet his doom during the performance of his act-and then falls in love with Joan Stanley (Barbara Stanwyck), who looks exactly like the girl who appeared in that dream. A fourth story, detailing the doomed romance between a fugitive from justice (Alan Curtis) and a blind girl (Gloria Jean), was cut from Flesh and Fantasy, then expanded and released separately as Destiny (1944). ~ Hal Erickson, All Movie Guide

The old George M. Cohan theatrical chestnut The Meanest Man in the World was retailored for the screen to accommodate the talents of Jack Benny and Eddie "Rochester" Anderson. Benny plays small-town lawyer Richard Clark, whose soft-heartedness and sense of justice loses him case after case. Threatened with bankruptcy, Clark is open to the suggestions of his valet Shufro (Rochester), who advises his boss to become cold-blooded and nasty. This he does through a series of subterfuges, including having himself photographed stealing candy from a baby and foreclosing on a little old lady (though he actually hides the old dear in his office, tending to her every need). Not unexpectedly, business picks up tremendously, but Clark's sweetheart Janie (Priscilla Lane) is upset by the "change" in her boyfriend and walk out on him. It's up to Janie's father (Matt Briggs) to tie up loose ends-literally. Despite a brief 57-minute running time (the result of retake problems during production), Meanest Man in the World secured top-of-the-bill bookings thanks to Jack Benny's radio popularity. And yes, that is Tor Johnson in the final shot. ~ Hal Erickson, All Movie Guide

No relation to the 1935 Lon Chaney Jr. vehicle of the same name, Republic's A Scream in the Dark is based on The Morgue is Always Open, a novel by Jerome Odlum. Robert Lowery plays Mike Brooker, a police reporter and amateur sleuth. Mike finds himself up to his neck in danger and intrigue when tracking down an elusive killer. The murders are committed by a stiletto-tipped umbrella, and there is no shortage of suspects. With only 53 minutes' running time, Mike is forced to assemble the clues in record time, with nary a pause for breath or logic. Marie "The Body" McDonald is better than usual as the hero's sweetheart, while Elizabeth Russell, a fixture of Val Lewton's RKO horror films, is suitably sinister as an oft-widowed suspect. ~ Hal Erickson, All Movie Guide

In her last 20th Century-Fox vehicle, skating star Sonja Henie plays, Nora, a Norwegian expatriate ice champion. Newly arrived in the U.S., Nora and her millionaire uncle Hjallmar (S. Z. Sakall) are sweet-talked into investing in a failing resort hotel, now a hostelry for showbiz folk. Unemployed musician Brad Barton (Cesar Romero) makes a play for Nora, but she winds up with hotel manager Freddy Austin (Cornel Wilde), leaving Freddy's girlfriend Flossie (Lynn Bari) literally in the cold. The film's finale is the standard fund-raising ice show, with Nora as the center of attention. It is typical of early-1940s musicals that poor Flossie, a likeable character throughout most of the film, turns into a venomous virago in the final reel to "justify" her breakup with Freddy. No matter: the film is redeemed by the sweet sounds of Woody Herman and His Orchestra. ~ Hal Erickson, All Movie Guide

Lucky Jordan (Alan Ladd) is a tough but good-natured New York racketeer who tries to finagle his way out of Army service. Despite his efforts, Jordan is drafted, but soon goes AWOL, with a lovely USO worker (Helen Walker) dogging his heels. She tries to arouse Jordan's patriotism, but he is unmoved until a gang of enemy spies beat up an old lady con artist (Mabel Paige) whom Lucky regards as a surrogate mother. Using his underhanded "street smarts," Jordan rounds up the spies and agrees to complete his military servitude. Lucky Jordan was one of several wartime films in which otherwise larcenous individuals are redeemed by channelling their talents for the good of Uncle Sam. ~ Hal Erickson, All Movie Guide

Star-Spangled Rhythm is a typical wartime all-star musical-comedy melange, this time from Paramount Pictures. The slender plot involves the efforts by humble studio doorman Pop Webster (Victor Moore) to pass himself off as a big-shot Paramount executive for the benefit of his sailor son Jimmy (Eddie Bracken). The overall level of humor can be summed up by the scene in which Webster is advised that the best way to pretend to be a studio big-shot is to say "It stinks!" to everything -- whereupon Cecil B. DeMille shows up to ask Webster's opinion about his current production. Betty Hutton, cast as studio switchboard operator and co-conspirator Polly Judson, is at her most rambunctiously appealing here. The huge lineup of guest performers includes Bing Crosby (and his 8-year-old son Gary!), Bob Hope, Veronica Lake, Dorothy Lamour, Dick Powell, Mary Martin, Alan Ladd, Fred MacMurray, William Bendix, Paulette Goddard, and Eddie "Rochester" Anderson, most (but not all) of them going through their characteristic paces. Highlights include a surrealistic rendition of That Old Black Magic with Johnnie Johnston and Vera Zorina; a frantic staging of the old George S. Kaufman sketch "If Men Played Cards as Women Do" with MacMurray, Ray Milland, Franchot Tone, and Lynn Overman; and The Sweater, the Sarong and the Peekaboo Bang, first performed by Goddard, Lamour and Lake, then lampooned in drag by Arthur Treacher, Sterling Holloway and Walter Catlett! PS: The actor playing Rochester's chauffeur in the Smart as a Tack number is John Ford "regular" Woody Strode. ~ Hal Erickson, All Movie Guide

In this western, brave Roy Rogers and his pals take on high-tech big city gangsters who fight their battles with airplanes and tommy guns. The trouble begins as Rogers is taking three important investors to see some land. At the same time, a crime lord endeavors to kidnap the investors and leave poor Rogers to take the fall. Guns blaze and somewhere in the midst of it all, old Rogers sets himself down and sings some songs. ~ Sandra Brennan, All Movie Guide

Man in the Trunk is a variation on the "Topper" theme, with Raymond Walburn carrying the weight of the film as a restless ghost. Ten years before the story proper gets under way, bookie Jim Cheevers (Walburn) is murdered and his body is stuffed in a trunk. When the trunk is opened, all that remains is a pile of bones and only fragmentary clues as to the killer's identity. Young lawyer Dick Burke (George Holmes) hopes to use this flimsy evidence to clear his client, who has been sentenced to the electric chair for Cheevers' killing. With the help of the ghostly Cheevers, Burke manages to win a stay of execution, but the crime isn't solved until the murderer stupidly confesses. 20th Century-Fox contractee Lynne Roberts gets top billing as the nominal heroine, but the picture belongs to Raymond Walburn, who can get more laughs by clearing his throat than most comic actors can get by falling on their keesters. ~ Hal Erickson, All Movie Guide

Long underappreciated by film buffs, The Lady Has Plans is a screwball comedy disguised as an espionage melodrama. The title character is not star Paulette Goddard, as one might assume, but Nazi agent Rita Lenox (Margaret Hayes), who sneaks into Lisbon with a secret message written on her bare back in invisible ink. Through a case of mistaken identity, perky Sidney Royce (Paulette Goddard), the assistant to globetrotting radio correspondent Kenneth Harper (Ray Milland) is presumed to be Rita Lenox. At the behest of British Intelligence chieftan Ronald Dean (Roland Young), who hopes to extract the vital information supposedly scribbled on Sidney's back, our nonplussed heroine is treated like royalty in a posh Lisbon hotel. Meanwhile, Rita, having summed up the situation, simultaneously poses as Sidney. Once he's figured out what's what, Harper manages to waylay Rita and intercept the message, but neither he nor Sidney are out of the woods yet-not if German spy chief Baron Von Kemp (Albert Dekker) has anything to say about it. ~ Hal Erickson, All Movie Guide