George F. Marion Movies

Eccentric professor Einfeld (Lee Kohlmar) is lecturing a select group of scientists at a darkened planetarium when one of the spectators is shot to death. Homicide detective Ted Mallory (Russell Hopton) can't get a straight story from the witnesses and refuses to allow reporter Kay Palmer (Lola Lane) to file her story until he can determine the direction from which the murderer fired the shots. Kay manages to phone in her story anyway, putting Mallory on the spot with the DA. Burying the hatchet, Mallory and Kay combine forces to nab the killer and expose his diabolically clever method of firing a gun without being present in the room! Though filmed on a tiny budget, Death from a Distance is an impressively spooky whodunit, benefitting immeasurably from the special-effects expertise of Jack Cosgrove. ~ Hal Erickson, Rovi

Randolph Scott stars in this adequate Zane Grey adaptation. Lawman Larry Sutton (Scott) is assigned to solve a series of murders occurring at a radium mine. Among the suspects is mine owner Mrs. Borg, played by legendary Broadway star Leslie Carter in a rare film appearance. The key to the mystery would seem to be a sinister Chinese gent named Ling Yat (Willie Fung), but he proves to be one of many red herrings. Hoping to beat Sutton to the solution is local sheriff Tex Murdock, played by veteran vaudevillian Chic Sale. With so much high-powered talent, it's small wonder that many reviewers failed to mention the ingenue, a young actress named Anne Sheridan. A remake of the 1922 film Golden Dreams (the original title of the Zane Grey novel), Rocky Mountain Mystery was reissued as Vanishing Pioneer. ~ Hal Erickson, Rovi

One wonders if William Wyler ever gave Her First Mate a second thought when he was busy directing such subsequent films as The Little Foxes, Mrs. Miniver,The Best Years of Our Lives and Ben-Hur. This early Wyler efforts stars Slim Summerville and ZaSu Pitts as John and Mary Horner; he's a peanut vendor on the Albany night boat, while she's trying to scrimp together enough money to buy John his own ferryboat. Along the way, the Horners get mixed up with comic bootlegger Socrates (Henry Armetta) and a pair of doltish lovebirds named Hattie (Una Merkel) and Percy (Warren Hymer). The story comes to a climax with a slapstick ferry wreck, easily the best scene in the picture. Her First Mate was based on Salt Water, a play by Dan Jarrett, Frank Craven and John Golden; among the screenwriters was H. M. "Beanie" Walker, an alumnus of the Laurel and Hardy and Our Gang two-reelers. ~ Hal Erickson, Rovi

Man to Man refers to the relationship between father John Bolton (Grant Mitchell) and son Michael (Phillips Holmes) -- or least, to the relationship as it should be. After serving a prison sentence for homicide (established by the screenwriters as justifiable), John starts life anew as a small-town barber. When Michael learns the truth about John's past, it causes a rift in the relationship between the two men. But when Michael is accused of embezzlement, John gallantly shoulders the blame, even though he believes his son to be guilty -- while Michael, convinced that his dad stole the money, refuses to recant his confession. Only after the true culprit is exposed are father and son tearfully reunited. Dwight Frye does his patented "Renfield" overacting in a minor role. ~ Hal Erickson, Rovi

A young Barbara Stanwyck was considered for the starring role as the exiled call-girl in this extremely frank pre production-code drama directed by William A. Wellman from a play by Houston Branch). The role eventually went ot Dorothy Mackaill, an evocative British-born veteran adept at playing less than respectable women. Mackaill is Gilda Karlson, a call-girl fleeing New Orleans the supposed murder of her latest "john," Piet Van Saal (Ralf Harolde). Old boyfriend Carl Erickson (Donald Cook) arranges for safe passage to Tortuga, a Caribbean Island without extradition laws. After "marrying" the girl in the eyes of God but without the benefit of clergy, Carl leaves on his ship. Having successfully kept an international array of escaped crooks at bay, Gilda suddenly finds herself face-to-face with Van Saal, still very much alive and on Tortuga because an insurance scam went astray. The island's jealous executioner, Bruno (Morgan Wallace), hands the girl a gun "to protect herself." Van Saal attacks her, and this time Gilda manages to kill her tormentor. About to be acquitted of murder by a sympathetic jury, Gilda chooses to "confess" in order to escape a trap set by Bruno. To the strains of Pagan Moon, the wronged girl bravely faces the gallows. Forthrightly told and extremely well acted, Safe in Hell features two prominent African-American performers -- Nina Mae McKinney and Clarence Muse -- portraying completely un-stereotypical characters. Muse, in fact, persuaded director Wellman to drop the screenplay's standard "black" lines in favor of straight dialogue. McKinney, famous for playing the vamp in King Vidor's all-black Hallelujah! (1929), performs When It's Sleepy Time Down South by Clarence Muse. ~ Hans J. Wollstein, Rovi

Exercising his usual creative prerogative, Lowell Sherman was both star and director of RKO's The Pay Off. Sherman plays Gene Fenmore, a jaded gangster boss who falls in love with innocent young Nancy Porter (Marian Nixon). When Nancy's sweetheart Tommy Brown (William Janney) faces execution for a crime he didn't commit, Gene's first impulse is to let the boy fry so that he can have a clear field with the heroine. Ultimately, however, Gene proves he's a decent sort by clearing Tommy and philosophically keeping that date with the electric chair himself.
Released in Great Britain as The Losing Game, The Pay-Off was remade in 1938 as Law of the Underworld, with Chester Morris in the old Lowell Sherman role. ~ Hal Erickson, Rovi

Not the first of the prison pictures, but the one that truly put the genre on the map. Playboy Kent (Robert Montgomery), driving drunk, kills a couple of pedestrians and is sentenced to a 10-year manslaughter term. His cellmate is forger Morgan (Chester Morris), a tough but essentially decent con; the cell-block leader is Butch (Wallace Beery), whose outer oafishness hides a cruel, calculating mind. Butch lives for the day that he can bust out and doesn't care who gets hurt along the way. Panicking, Kent "rats" on Butch and is murdered during the climactic breakout as a consequence. Morgan behaves courageously, saving the warden (Lewis Stone) and the guards from Butch's wrath; as a reward, Morgan earns a reduced sentence and the love of Kent's sister Anne (Leila Hyams). Remarkably brutal for an MGM film, The Big House (a double Oscar winner, for best screenplay and sound recording) established not only the grimy mise-en-scene of prison life, but also a whole new glossary of slang terms and a veritable menagerie of movie "types," from the firm but kindly prison chaplain to the embittered lifer. The film was gloriously lampooned by Laurel & Hardy's Pardon Us, in which Walter Long played the Beery counterpart. ~ Hal Erickson, Rovi

The comedy team of Bert Wheeler and Robert Woolsey made their fourth film appearance of 1930 in the hectic comedy-melodrama Hook Line and Sinker. This time the boys are cast as itinerant insurance salesmen Wilbur Boswell and J. Addington Ganzy ("Not Pansy -- Ganzy, with a 'G'"!) After talking their way out of a traffic ticket, Wilbur and Addington make the acquaintance of penniless socialite Mary Marsh (Dorothy Lee), who is fleeing a wealthy marriage arranged by her mother Rebecca (Jobyna Howland). Falling in love with Mary himself, Wilbur talks Ganzy into helping her renovate a seedy hotel willed to her by her uncle. With the dubious aid of a decrepit bellboy (George F. Marion) and a nutty house detective (Hugh Herbert), the boys turn the hotel into a thriving enterprise. The plot thickens when a gang of jewel thieves and a band of bootleggers register at the hotel, followed in short order by Mary's mother and the girl's prospective fiance, lawyer John Blackwell (Ralf Harolde) -- who happens to be in league with the bootleggers! A wild gangland shoot-out and nocturnal chase caps this dated but amusing Wheeler and Woolsey vehicle. ~ Hal Erickson, Rovi

Henry Wadsworth Longfellow's narrative poem Evangeline briefly abandoned the curriculum of English Literature 101 for the purposes of this part-talkie screen adaptation. Dolores Del Rio stars as the title character, an Acadian lass whose marriage to kinsman Gabriel (Roland Drew) is forestalled by the British invasion of the Grand Pre region. Exiled from the territory along with most of the other Acadians, Gabriel is transported far, far away from Evangeline's arms. Our heroine spends the rest of the film in search of her sweetheart, but the two are reunited only after Gabriel falls mortally ill, and Evangeline has joined an order of nuns. The film was billed as a "talkie" by virtue of its two songs, both performed by Dolores Del Rio. ~ Hal Erickson, Rovi

Sports-loving inventor Richard Shelby (Richard Dix) develops an "Elasto-Tweed" golf suit then hits the road in hopes of making a few sales. Along the way, he meets Alice Elliott (Gertrude Olmstead), who mistakes Shelby for millionaire sportsman Timothy Stanfield (Claude King). Forced to go through with the masquerade, Shelby ends up spending what little money he has, and then some. Only the timely intervention of eccentric department-store owner Jordan (Ford Sterling) saves our hero from drowning in a sea of debts by purchasing the revolutionary new golf suit. And, of course, Jordan plays Cupid for Shelby and Alice, paving the way for the hardly surprising happy ending. ~ Hal Erickson, Rovi

The principal lady in Ladies of the Mob is jazz-baby Clara Bow. After her father is executed, Bow goes to heck in a handbasket, consorting with the riffiest raff of the underworld riff-raff. Upon falling in love with her partner in crime Richard Arlen, Bow vows to set him on the straight and narrow path (where did this plot twist come from?) To dissuade him from a life of crime, Bow shoots Arlen--whereupon he immediately reforms, as does she! Who cared in 1928 if Ladies of the Mob made any sense? It had Clara Bow, and that was enough. ~ Hal Erickson, Rovi

Show Girl was based on a novel by J.P. McEvoy, which also inspired the long-running comic strip Dixie Dugan (Actress Louise Brooks was the model for Dixie, at least so far as the character's distinctive hairdo was concerned). Alice White and Gwen Lee star as Dixie and Nita, stagestruck daughters of Pa and Ma Dugan (James Finlayson and Kate Price). Nita gets over her stage fever early on, but Dixie is lucky enough to meet reporter Jimmy Doyle (Charles Delaney), who helps her get a chorus part on Broadway. Jimmy comes to regret his generosity when he nearly loses Dixie to man-about-town Alvarez Romero (Donald Reed). An abundance of laughs are provided by the Scotch-Irish tomfoolery of James Finlayson and Kate Price, while additional ethnic humor is provided by Hugh Roman and Bernard Randall as Jewish producers Eppus and Kibbitzer. Filmed silent, but released with a music and sound-effects track, Show Girl was followed in 1930 by an all-talkie sequel, Show Girl in Hollywood. ~ Hal Erickson, Rovi

Though Will Rogers was still packing 'em in on Broadway, he was considered a Hollywood has-been when he starred in the independently produced A Texas Steer. Rogers also wrote the screenplay of this "topical comedy," in which he plays Texas rancher Maverick Brander, who is maneuvered into politics by his status-seeking wife Ma (Louise Fazenda). Unfortunately, Maverick finds himself at the mercy of a trio of corrupt political hacks who want our hero to use his influence to push through a piece of questionable legislation. The opponents of the bill contrive to abduct Maverick, but he escapes in time to strike a blow for honesty in Washington. The level of humor in the film can be gauged by such character names as "Bossy Brander," "Dixie Style" and "Fairleigh Bright." A Texas Steer had its moments, but Will Rogers would have to wait until talkies arrived to fully blossom as a film star. ~ Hal Erickson, Rovi