Marjorie Main Movies

A remake of the Swedish film of the same name (see entry 55092), MGM's A Woman's Face was reshaped into one of Joan Crawford's best vehicles. Told in flashback from the vantage point of a murder trial, the story concerns a female criminal whose face is disfigured by a hideous scar. The plastic-surgery removal of this disfigurement has profound repercussions, both positive and tragically negative. The film's multitude of subplots converge when Conrad Veidt, Joan's lover and onetime partner in crime, is murdered. Melvyn Douglas costars as the beneficent cosmetic surgeon who becomes Joan's lover, while Osa Massen appears as Douglas' vituperative wife. Making his American screen debut in the role of Veidt's father is Albert Basserman, who spoke no English and had to learn his lines phonetically. Both A Woman's Face and its Swedish predecessor were based on Il Etait Une Fois, a play by Francis de Croiset. ~ Hal Erickson, All Movie Guide

Bad Bascomb is an expensive MGM western, tailor-made for the blubbery talents of Wallace Beery. Beery plays the badman of the title, whose heart is softened by a sweet little child (Margaret O'Brien at her most cloying). Just about to make a clean getaway, Beery realizes that the child is in danger of being killed by marauding Indians. He rides back to warn the cavalry, which results in his arrest but saves the girl. Sentenced to be hanged, Beery tearfully sends O'Brien off to her foster parents, never letting the precocious little tot know that he's about to have his neck stretched. Bad Bascomb is at its best whenever Beery shamelessly pulls every trick in the book to steal scenes from the estimable Margaret O'Brien. ~ Hal Erickson, All Movie Guide

Wallace Beery's final film was the curiously endearing "black comedy" Big Jack. Set in 1820, a time when "science was a crime and crime not yet a science," the film casts Beery and Marjorie Main as outlaws Big Jack Horner and Flapjack Kate. The two bandits rescue visionary young doctor Alexander Meade (Richard Conte), who is about to be hanged for body-snatching. Meade is a tireless campaigner for modern surgical methods, thus he is forced to steal cadavers for his experiments. Big Jack is only interested in having the doc operate on his injured leg, but pretty soon he too is captivated by Meade's idealism. The film's many subplots all come to a head when Meade must prove his surgical theories by performing a delicate operation. Throughout, the film displays a cheerful disregard for the "dignity" of the deceased. One lengthy sequence finds an unbilled Andy Clyde buried alive after being declared legally dead; he laughs uproariously about the misunderstanding, then promptly drinks himself to death! The punchline to this scene occurs when Clyde's widow finds his remains evenly distributed in several mason jars, whereupon she remarks, "Oh, paw, now they've gone and bottled ya!" Vanessa Brown provides the requisite love interest. ~ Hal Erickson, All Movie Guide

In this tearful crime melodrama, a waitress becomes so taken with her dream of living in posh luxury and comfort that she leaves her honest boyfriend the district attorney to take up with a notorious gangster who lavishes her with stolen furs and fabulous diamonds. She has no idea that the crook is only using her as a pawn in his scheme to learn the DA's secrets. When she finally does learn the truth, she gives up her life for truth, justice and love. ~ Sandra Brennan, All Movie Guide

Adapted by Lillian Hellman from Sidney Kingsley's Broadway play, Dead End concerns itself with several denizens of New York's East River district. Here the elite and the slum-dwellers rub shoulders due to the close proximity of the riverfront tenements with the East Side luxury hotels. Slum girl Drina Gordon (Sylvia Sidney) tries to prevent her younger brother Tommy (Billy Halop) from wasting his life as a member of the local street gang. Tommy and the other kids idolize Baby Face Martin (Humphrey Bogart), a onetime East- sider who has hit the "big time" as a notorious gangster. Dodging the cops, Martin makes a sentimental journey to the neighborhood to visit his mother (Marjorie Main) and his old girlfriend Francie (Clare Trevor). But Martin's mother coldly tells him to get lost, while Francie reveals herself to be a consumptive prostitute. Despite his depressed state, Martin is still admired by the local kids; this displeases sign painter Dave Connell (Joel McCrea), who hopes to escape the slums via his romance with wealthy Kay Burton (Wendy Barrie). Attempting to kidnap a rich boy who'd earlier been beaten up by the street kids, Martin is prevented from making the snatch by Dave, who shoots Martin down. Receiving a large reward, Dave decides to give the money to Drina so that she can afford a lawyer to defend her brother Tommy, who has wrongfully been accused of masterminding the beating of the rich kid. His outlook on life altered by this unselfish act, Dave gives up his mercenary romance with Kay Burton, choosing instead the poverty-stricken Drina. The film introduces the Dead End Kids--Billy Halop, Leo Gorcey, Gabe Dell, Huntz Hall, Bernard Punsley and Bobby Jordan--all of whom were veterans of the Broadway version of Dead End and would be metamorphosed into the East Side Kids and The Bowery Boys. ~ Hal Erickson, All Movie Guide

Feudin', Fussin' and A-Fightin' starts off on a tense note as a struggling man is led through the streets of a western town, presumably headed for his own execution. Within a few minutes, however, we discover that the "victim" is a reluctant trainee for an upcoming foot-race between the feuding towns of Rim Rock and Big Bend. With an appalling lack of local talent in Rim Rock, it looks as though Big Bend is once again going to win the annual event. Into this melancholy situation walks travelling salesman Wilbur McMurtry (Donald O'Connor). When he proves to be very light on his feet, Wilbur is kidnapped by the townsfolk and ordered to run on behalf of Rim Rock -- with the understanding that if he loses, he really loses. Musical highlights include Donald O'Connor's duet with Penny Edwards (a western ingenue who seldom got a chance to demonstrate her dancing skills), a vocal contribution by the Sportsman Quartet of Jack Benny Show fame, and the byplay between Rimrock mayor Maribel Mathews and stableman Billy Caswell, played by Ma and Pa Kettle co-stars Marjorie Main and Percy Kilbride. ~ Hal Erickson, All Movie Guide

Marjorie Main's first solo starring vehicle for MGM finds the formidable character actress cast as a tough-but-tender female outlaw. Living on her tumbledown ranch in Oklahoma territory, Annie Goss (Main) shelters her desperado sons (Henry Morgan, Paul Langton) from the authorities. While planning to pull up stakes and return to Missouri, the Goss family befriends marshal Lloyd Richland (James Craig), who suspects that Annie's offspring are responsible for a recent train robbery, but is hesitant to arrest them because he believes that their motivations were noble. Likewise befriended by Gentle Annie and her brood is a stranded waitress named Mary Lingen (Donna Reed), with whom Richland falls in love. If the film can be said to have a villain, it is surly Sheriff Tatum (Barton MacLane), who unlike the soft-hearted Richland is determined to uphold the letter of the law. ~ Hal Erickson, All Movie Guide

On the day of his death in 1943, the spirit of Henry Van Cleave (Don Ameche) obligingly heads for the place where so many people had previously told him to go. The immaculately dressed septuagenarian arrives at the outer offices of Hades, where he is greeted by His Excellency (Laird Cregar), the most courteous and gentlemanly Satan in screen history. His Excellency doubts that Van Cleave has sinned enough to qualify for entrance into Hades, but Henry insists that he's led the most wicked of lives, and proceeds to tell his story. Each milestone of Henry's life, it seems, has occurred on one of his birthdays. Upon reaching 15, Henry (played as a teenager by Dickie Moore) naively permits himself to get drunk with and be seduced by his family's French maid (Signe Hasso). At 21, Henry elopes with lovely Martha Strabel (Gene Tierney) stealing her away from her stuffy fiance Albert Van Cleve (Allyn Joslyn), Henry's cousin. At 31, Henry nearly loses Martha when, weary of his harmless extracurricular flirtations, she goes home to her boorish parents (Eugene Pallette and Marjorie Main). Henry's grandpa (Charles Coburn) orders the errant husband not to let so wonderful a girl as Martha get away from him. Henry once more declares his love to Martha, and she can't help but be touched by his boyish sincerity. Twenty years later, Henry, now a faithful and proper husband and father, attempts to charm a beautiful musical-comedy entertainer (Helen Walker) so that she'll forsake his young and impressionable son. But Henry's gay-90s romantic approach is out of touch with the Roaring 20s, and he ends up paying the entertainer a tidy sum to rescue his son--a fact that amuses Henry's understanding wife Martha, who now knows that her husband is hers and hers alone. Ten more years pass: Henry dances a last waltz with Martha, whose loving smile hides the fact that she knows she hasn't much longer to live. Five years later, it is "foxy grandpa" Henry who must be kept in check by his conservative son Jack (Michael Ames). Finally, it is 1943: as he quietly drinks in the loveliness of his night nurse (Doris Merrick), the bedridden Henry contentedly breathes his last. His story told, Henry once again asks to be permitted to enter Hades. But His Excellency, realizing that the only "sin" Henry has truly committed is attempting to live life to the fullest, quietly replies "If you'll forgive me, Mr. Van Cleave, we just don't want your kind down here." While he allows that Henry may have some trouble getting past the Pearly Gates, the wait will be worth it, since his loving wife Martha will be waiting for him. His Excellency cordially escorts Henry to the elevator, giving the operator a one-word instruction: "Up." A charming delight from first frame to last, Heaven Can Wait is another winner from director Ernst Lubitsch, and his first in Technicolor. Samson Raphaelson's screenplay was based on Birthdays, a play by Laslo Bus-Fekete. ~ Hal Erickson, All Movie Guide

In this romantic comedy, a socialite has an argument with her sweetie and decides to exact revenge by spending the whole day, and much of the night with a notorious playboy. It is all innocent, but unfortunately, gossip ensues and she loses her job. Things get worse when the scandal gets back to her beau and he threatens to call of their wedding. The whole mess is straightened out when the playboy comes forth and swears her innocence. Later it is he that becomes her husband. ~ Sandra Brennan, All Movie Guide

Comprised of eight unrelated episodes of inconsistent quality, this anthology piece of American propaganda features some of MGM Studios' best directors, screenwriters and actors; it is narrated by Louis Calhern. Stories are framed by the lecture of a university professor. In one tale a Boston resident becomes angry when the census forgets to record her presence. Another sketch chronicles the achievements of African Americans while still another pays tongue-in-cheek tribute to Texas. ~ Sandra Brennan, All Movie Guide

For his first independently-produced starring effort, James Cagney chose the sentimental drama Johnny Come Lately. Cagney plays itinerant newspaperman Tom Richards, who wanders into a small corruption-ridden town. Striking up a friendship with elderly Vinnie McLeod (Grace George in her only movie appearance), the editor of the local newspaper, Tom tries to help Vinnie exposed the community's crooked politicians. He is thwarted in his efforts until Gashouse Mary (Marjorie Main), a wealthy dowager with a shady past, exposes the machinations behind a phony Orphan's Fund. At the insistence of star Cagney, the cast of Johnny Come Lately was filled with familiar character actors (Hattie McDaniel, Edward McNamara, George Cleveland, Margaret Hamilton, Lucien Littlefield) who are herein offered a lot more screen time than was customary. Based on the Louis Bromfield novel McLeod's Folly, Johnny Come Lately was produced by Cagney's brother William; the film garnered an Oscar nomination for Leigh Harline's nostalgic musical score. ~ Hal Erickson, All Movie Guide

The first of the "splinter" groups to emerge from the Dead End Kids was the Little Tough Guys, consisting of veteran Dead-Enders Billy Halop, Huntz Hall, Gabriel Dell, Bernard Punsly and David Gorcey (Hally Chester and Billy Benedict would also appear in this new grouping from time to time). Though most of the "Little Tough Guy" vehicles were played for laugh, the initial entry was not. When labor activist Jim Boylan (Edward Pawley) is executed for a murder he didn't commit, his son Johnny (Billy Halop) decides to become a crook. He and his pals Pig (Huntz Hall), String (Gabe Dell), Sniper (David Gorcey) and Dopey (Hally Chester), embark upon a crime spree, aided and abetted by thrill-seeking rich kid Cyril (Jackie Searl), who happens to be the son of the district attorney. While committing a robbery orchestrated by Cyril, Johnny and Pig are trapped by the police. Pig makes a break for it, only to be killed in a hail of bullets. This startling turn of events convinces Johnny to mend his ways, but not before an obligatory stretch in reform school with his fellow Little Tough Guys-including Cyril! Beyond the spectacle of Huntz Hall dying in agony, Little Tough Guy offers very little that is new and innovational: still, the film made money, prompting a whole series of "Little Tough Guy" quickies from the Universal assembly line. ~ Hal Erickson, All Movie Guide