Jacqueline Logan Movies

In this crime drama, a gangster murders his own girlfriend and kidnaps a wealthy socialite. He takes her to his boat and holds her for ransom. Fortunately, an ace reporter follows his tracks and manages to save the girl. When faced with his own capture, the gangster chooses to kill himself instead. ~ Sandra Brennan, All Movie Guide

In this melodrama, a blind musician enters his newest composition in a competition and wins. At least he thinks he wins. His loving wife cannot bear to tell him the truth. Fortunately, a kindly neighbor helps out and hands the musician a big check so he thinks he won. When the man discovers the truth, he immediately begins suspecting his wife of cheating and leaves her. After his tunes become popular the humbled fellow returns and peace is restored. ~ Sandra Brennan, All Movie Guide

The seventh serial released by Nat Levine's penny-pinching but enterprising little Mascot Pictures, King of the Congo was released in three versions: silent, sound-on-disc, and sound-on-film. The latter came with several dialogue scenes, making Levine and his staff pioneers in the new art of outdoor sound filming. Veteran serial star Walter Miller and Jacqueline Logan, De Mille's Mary Magdalene of The King of Kings (1927), go in search of missing relatives in Darkest Africa. Through ten somewhat stodgily paced chapters, the two innocents battle a devious gang of ivory smugglers -- not to mention a fair amount of stock-footage wildlife -- only to discover that the man they thought was their enemy is actually Miss Logan's long-lost father and their guardian angel. The latter was played in his most menacing way by Boris Karloff, making this his third "red herring" role for Mascot. ~ Hans J. Wollstein, All Movie Guide

This costume drama is the first all dialog film in which Barrymore appeared. He plays a mercenary who will serve anyone who pays him. He is currently working for the Austrian Emperor. His mission is to abscond with the crown of the Holy Roman Empire. En route, the hero marries a gypsy and leaves her to await his return in Vienna. While he is off doing the king's bidding, the Austrian ruler begins dallying with his wife. This enrages the mercenary who upon his return, seeks to dethrone the king. ~ Sandra Brennan, All Movie Guide

Future "Hopalong Cassidy" William Boyd essays the title role in Pathe's The Cop. It all begins when likeable police sergeant Alan Hale Sr. is bumped off by surly scar-faced underground chieftain Robert Armstrong. Unfortunately, the authorities aren't able to pin the crime on Armstrong, so patrolman Boyd takes it upon himself to trap the killer. He is aided in this endeavor by "mystery woman" Jacqueline Logan, who may or may not be working both sides of the fence. Coincidentally, Quality Productions' The Lookout Girl, featuring Jacqueline Logan in a similar role, premiered two weeks before The Cop. ~ Hal Erickson, All Movie Guide

Mower helps Logan find her brother, the victim of pirates. ~ All Movie Guide

A typical Poverty Row potboiler, this minor silent action melodrama featured Jacqueline Logan as a young woman searching for her wayward brother (Arthur Rankin), who is falsely accused of murder and on the lam. Along the way, Miss Logan encounters untold dangers from a maniacal Chinese warlord (the always watchable Sojin) and falls in love with a handsome ship's captain (Jack Mower). A 1922 WAMPAS Baby Star, the beautiful Jacqueline Logan had played a very alluring Mary Magdalene in Cecil B. DeMille's The King of Kings (1927), after which her career inexplicably went into a free fall. A late entry in the "yellow peril" cycle, Ships of the Night was penned by prolific genre specialist Arthur Hoerl. ~ Hans J. Wollstein, All Movie Guide

Having scored big-time box office with his first Biblical epic, The Ten Commandments (1923), Cecil B. DeMille hoped to top this success with his 1927 The King of Kings. Inasmuch as he was now dealing with the life of Christ, DeMille had to be careful to serve up equal amounts of showmanship and reverence. The first creative challenge: how to "introduce" Christ in a tasteful manner? The answer: as a blind child is cured through Jesus' intervention, DeMille cuts to the child's point-of-view, slowly fading in on the kindly countenance of H.B. Warner as the Son of Man. Still, DeMille remained DeMille, especially in his handling of the character of Mary Magdalene (Jacqueline Logan). No longer a tattered streetwalker, Mary Magdalene is now a glamorous courtesan, replete with legions of gorgeous slave girls (one of whom is "bubble dancer" Sally Rand) and dressed in revealing Hollywood-style gowns. In fact, the film opens on this character, as she ruminates over the defection of her favorite customer, Judas Iscariot (Joseph Schildkraut), who is spending far too much time with Jesus of Nazareth. Upon visiting Jesus herself, she immediately repents, casting off all her prior sins. Once again, the efficacy of the Cecil B. DeMille formula is proven: redemption has no dramatic value unless the film shows viewers why the sinner needs to be redeemed. Once he's gotten his box-office considerations out of the way, DeMille adheres faithfully to the particulars of Jesus' life, betrayal, trial, Crucifixion, and Resurrection. (Again, however, the director improves a bit upon his source material: the storm that follows the Crucifixion is of the same spectacular dimensions as the parting of the Red Sea in Ten Commandments, while the Resurrection is filmed in vibrant Technicolor). To back up the authenticity of his images, DeMille -- with an assist from scenarist Jeannie Macpherson -- utilizes Scriptural quotes in his subtitles. And to avoid any untoward publicity while filming, DeMille required all of his actors to sign legal documents preventing them from indulging in any sort of "sinful" activity; this meant that poor old H.B. Warner had to steer clear of alcoholic beverages for nearly a year, though he more than made up for lost time after his contract ran out. Prepared to mercilessly lambaste The King of Kings, DeMille's critics were disarmed by his reverent, tasteful approach to the subject. Years after the film's release, a specially prepared 60-minute version of the 18-reel King of Kings was making the rounds of religious groups, church basements, and Easter-weekend telecasts. The film was remade in 1961 by producer Samuel Bronston and director Nicholas Ray, with Jeffrey Hunter as Jesus. ~ Hal Erickson, All Movie Guide

That indefatigable old trouper Hobart Bosworth topped the cast of the Columbia "B"-plus feature The Blood Ship. The villain of the piece is Captain Swope (Walter James), a "Wolf Larsen" type who shanghais his crewmen, beats them into submission, then allows them to jump ship so he won't have to pay their wages. Swope meets his match when old sea dog Newman (Hobart Bosworth) signs on board. Having searched lo these many years for the man who double-crossed him, broke up his happy home, and framed him on a murder charge, Newman finally catches up with the no-good rat -- who, of course, is none other than our old friend Swope. After rescuing the hero (Richard Arlen) and heroine (Jacqueline Logan) from Swope's clutches, Newman metes out a horrible retribution. ~ Hal Erickson, All Movie Guide

Henry Lehrman and Percy Pembroke, two graduates of the 2-reel comedy mills, shared directorial responsibilities for Columbia's For Ladies Only. Jacqueline Logan stars as one of several female office workers who spend their lunch hour ogling their male employers. Office manager Jack Mower catches the girls in mid-ogle and fires them all. Soon, however, Mower discovers that the office cannot survive without its female employee pool. Striking while the iron is hot, Logan organizes the other girls and issues a list of demands to Mower, whereupon they're all hired back on their own terms. Once the smoke is cleared, however, Logan admits that she's in love with Mower and is willing to let him be master of their own household. ~ Hal Erickson, All Movie Guide