Frank Mayo Movies

Director Douglas Sirk's love of cinematic esoterica was kept in check in the musical comedy Slightly French. Dorothy Lamour stars as Mary O'Leary, a carnival entertainer who's discovered by enterprising director John Gayle (Don Ameche). The plot dictates that Gayle must pass off Mary as an elegant Parisian actress/singer. This slender plotline enables the film to toss off a number of satirical quips about show biz, and to display Lamour in a variety of exotic costumes. The best musical numbers occur during an extended film-within-a-film sequence. Slightly French is buoyed by its expert supporting cast, including Janis Carter, Willard Parker and Adele Jergens. ~ Hal Erickson, Rovi

Samson and Delilah is Cecil B. DeMille's characteristically expansive retelling of the events found in the Old Testament passages of Judges 13-16. Victor Mature plays Samson, the superstrong young Danite. Samson aspires to marry Philistine noblewoman Semadar (Angela Lansbury), but she is killed when her people attack Samson as a blood enemy. Seeking revenge, Semadar's younger sister Delilah (Hedy Lamarr) woos Samson in hopes of discovering the secret of his strength, thus enabling her to destroy him. When she learns that his source of his virility is his long hair, Delilah plies Samson with drink, then does gives him the Old Testament equivalent of a buzzcut while he snores away. She delivers the helpless Samson to the Philistines, ordering that he be put to work as a slave. Blinded and humiliated by his enemies, Samson is a sorry shell of his former self. Ultimately, Samson's hair grows back, thus setting the stage for the rousing climax wherein Samson literally brings down the house upon the wayward Philistines. Hedy Lamarr is pretty hopeless as Delilah, but Victor Mature is surprisingly good as Samson, even when mouthing such idiotic lines as "That's all right. It's only a young lion". Even better is George Sanders as The Saran of Gaza, who wisely opts to underplay his florid villainy. The spectacular climax to Samson and Delilah allows us to forget such dubious highlights as Samson's struggle with a distressing phony lion and the tedious cat-and-mouse romantic scenes. ~ Hal Erickson, Rovi

Fred Astaire had announced his retirement before the cameras began to roll on Easter Parade, but he decided to accept the film's leading role when its original star Gene Kelly became incapacitated. The thinnish plot, which finds Astaire trying to turn chorus girl Judy Garland into a star in order to show up his former partner Ann Miller, is hardly what keeps the audience's eyes riveted to the screen. All that truly matters are the 17 musical numbers, all written by Irving Berlin (ten were standards, while seven were new to this film). Among the many highlights are Astaire's slow-motion version of "Steppin' Out," the Astaire/Garland duet "We're a Couple of Swells," the opening rendition of "Happy Easter," and the closing performance of the title number. So successful was Easter Parade that plans were immediately drawn to reteam Fred Astaire and Judy Garland in The Barkeleys of Broadway; this time, however, it was Garland who withdrew, to be replaced by Astaire's most famous vis-à-vis, Ginger Rogers. ~ Hal Erickson, Rovi

In this courtroom drama, two opposing lawyers lead a double life. In the courtroom they are ruthless toward each other, but once the day is over they become passionate lovers. Unfortunately their newest case may well threaten their relationship as the defense attorney is defending a corrupt district attorney who happens to be her ex-husband. The prosecutor knows nothing of their past relationship; all he knows is he wants to nail the crook and his cronies to the wall. Unfortunately, the truth comes out in court and mayhem ensues. ~ Sandra Brennan, Rovi

Lucille Ball offers a seminal version of her Lucy Ricardo TV character in Her Husband's Affairs. Ball is cast as Margaret Weldon, the wife of advertising executive William Weldon (Franchot Tone). Though Weldon is successful, Margaret can't help but feel that he'd be more successful if she were to take an active part in his business affairs. The fun really begins when Margaret tries to help Weldon promote a crackpot inventor (Mikhail Rasumny) who's come up with a revolutionary new embalming fluid. As in the previous year's The Hucksters, Madison Avenue and Big Business are targetted for a great deal of derisive ribbing. If only Her Husband's Affairs were as funny as everyone involved seems to think it is. ~ Hal Erickson, Rovi

It's The Champ all over again, with Wallace Beery as a down-and-out prizefighter and Dean Stockwell as the small boy whom he adopts. Mighty McGurk also borrows from Beery's earlier The Bowery (33) by placing its story in that New York neighborhood in 1900. The final echo from Wally Beery's movie past is Aline McMahon, who costarred with Beery in Ah, Wilderness (35). The plot of Mighty McGurk involves Beery's rescuing of the orphaned Stockwell, an English lad, from the clutches of his evil guardian Edward Arnold. The boy in turn inspires Beery to return to the boxing ring after several years of boozy grub work as a Bowery waiter. ~ Hal Erickson, Rovi

With Universal nearly out of the "B"-grade horror film business by 1945, it was up to Monogram to take up the slack with projects like The Strange Mr. Gregory. The title character, played by Edmund Lowe, is a famous magician who fakes his own death -- then reappears as his nonexistent twin brother. It's all part of Gregory's master scheme to pin his "murder" on innocent John Randall (Don Douglas), the husband of Ellen (Jean Rogers), the woman Gregory loves. Only the magician's faithful assistant Riker (Frank Reicher) knows the whole story, meaning that his days are numbered. By the time Ellen herself figures out what Gregory is up to, it may be??gasp?..tooo late!!! As Monogram films go, The Strange Mr. Gregory isn't bad; it might have been even better with just a bit more adrenalin in Phil Rosen's direction. ~ Hal Erickson, Rovi

Having Wonderful Crime spotlights Michael J. Malone, the murder-solving attorney created by author Craig Rice. The film is also ostensibly based on a novel by Rice, though precious little of the original actually made it to the screen. The story begins as Malone (Pat O'Brien) brusquely informs his newlywed friends Jake and Helene Justus (George Murphy and Carole Landis) that he's not going to allow them to suck him into another murder mystery. Unfortunately for the attorney, Jake and Helene shortly afterward attend a stage magic show wherein the star magician (George Zucco) disappears for real! Their investigation leads to a resort hotel literally packed with murder suspects. When the newlyweds learn too much for their own good, it's up to Malone to come to the rescue and nab the killer. One of the suspects is played by an actress named Anje Berens, who as "Gloria Holden" previously starred in Dracula's Daughter (1936). ~ Hal Erickson, Rovi

The Last Ride was also the last production to emanate from Warner Bros.' B-picture division. The plot involves the illicit wartime market in stolen tires (rubber was, of course, a priority), with Richard Travis and Charles Lang as Pat and Mike Harrigan, brothers on the opposite sides of the law. Borrowing a few elements from the 1936 Warners film Bullets or Ballots, police detective Pat Harrigan is dishonorably discharged from the force, but it's merely a ploy to bring the black-market tire thieves out in the open. The plan hinges on whether or not Pat can convince Mike to turn honest before the final reel. Eleanor Parker plays Kitty Kelly, whose primary function in the film is to get kidnapped during the climactic showdown. The Last Ride was directed by D. Ross Lederman, whose legendary ability to match new footage with old stock shots is given quite a workout here. ~ Hal Erickson, Rovi

One of the few failures for RKO Radio's resident "prestige programmer" producer Val Lewton, Mademoiselle Fifi is based on two Guy De Maupassant tales, with emphasis on Boule de Suif. The story takes place during the Franco-Prussian war of 1870, though it is clearly an allegorical representation of the German mindset of WW2. "Mademoiselle Fifi" is the derisive nickname of a brutal Prussian officer (Kurt Krueger) who rules the roost in a tiny French village. When a stagecoach rides into the village, the passengers are detained by the Prussian tyrant, who threatens to kill them all at any given moment. Desperately, the passengers demand that one of their own, a laundress of dubious morals named Elizabeth (Simone Simon), surrender herself sexually to the Prussian to secure their freedom. Previously the object of scorn and ridicule from her fellow passengers, Elizabeth is bitterly amused by their change of heart, but she's too loyal to France to refuse their request. How she completes her "mission" and eliminates "Mademoiselle Fifi" in the process is the film's dramatic core. Though superbly directed by Robert Wise, Mademoiselle Fifi is laid low by its pretentiousness-not to mention the uneveness of the performances, none more uneven than Jason Robards Sr., who at one point declaims in his flat midwestern tones "We must not forget that we're all Frenchmen!" ~ Hal Erickson, Rovi

In this musical romance, an ice skater comes to America to represent her country at a Lake Placid carnival. Unfortunately, while she is there the war breaks out and she is unable to go home. While in America, she is cared for by her rich uncle. She soon falls in love with his handsome junior partner who is already engaged to another. When she discovers this, the skater runs away. Her lover follows and true love ensues. Songs include: "Deep Purple", "My Isle of Golden Dreams", "National Emblem March", "Winter Wonderland", "Intermezzo", "Waiting for The Robert E. Lee", "When Citrus is in Bloom", "Drigo's Serenade", "While Strolling in the Park". ~ Sandra Brennan, Rovi

A princess finds love with a regular American Joe in this patriotic romantic comedy. A European diplomat (Charles Coburn) is named an ambassador to the U.S., and when he relocates to Washington D.C., he's accompanied by his niece, Princess Maria (Olivia de Havilland). Maria's uncle hopes that she'll meet an eligible American bachelor during her visit, since potential husbands are in short supply at home. Maria tires of her uncle's attempts at matchmaking, and when he suggests that she take a side trip to San Francisco, she leaps at the chance. However, Maria has a fear of flying, and when she's given tranquilizers to settle her nerves, she passes out in mid-flight. Maria is down for the count when bad weather forces the flight to return to Washington, and pilot Eddie O'Rourke (Robert Cummings) volunteers to put her up for the night. When Maria comes to, she's struck by Eddie's decency and charm, and it's love at first sight for them. However, Maria's uncle was hoping for someone higher up the social ladder than a pilot, and the lovebirds have an uphill battle getting him to consent to their wedding. No one seems sure if it's actually President Franklin D. Roosevelt appearing in the film's final scenes or just an impersonator, but apparently FDR's dog Fala did actually play himself. ~ Mark Deming, Rovi

Practically everybody on the Warner Bros. lot shows up in the wartime morale-boosting musical extravaganza Thank Your Lucky Stars. Believe it or not, this one has a wisp of a plot. A pair of enterprising producers, played by S.Z. Sakall and Edward Everett Horton, want to hire singer Dinah Shore for their upcoming Cavalcade of Stars. Unfortunately, this means they must deal with Shore's boss, radio comedian Eddie Cantor. The egotistical Cantor insists upon joining the show himself, driving everyone crazy with his take-charge attitude. Meanwhile, singer Dennis Morgan, hoodwinked by a crooked agent into thinking he's signed a contract with Cantor, shows up backstage at Sakall and Horton's rehearsal, only to be given the boot. While all this is going on, aspiring actress Joan Leslie has befriended a bus driver named Joe Simpson--who happens to be a dead ringer for Eddie Cantor (and why not? Ol' "Banjo Eyes" plays both parts). Turns out that Joe is another showbiz wannabe, but he has been denied a break because he looks too much like Cantor. You see what's comin' now, right, folks? Morgan and Leslie will get their big breaks when Joe Simpson impersonates Eddie Cantor, who's been kidnapped by Indians (bet you didn't see that one coming!) All of this expository nonsense is merely an excuse to show off Warners' talent roster in a series of engaging specialty numbers: John Garfield talk-sings Blues in the Night, Jack Carson and Alan Hale do a buck-and-wing, a jitterbug number is performed by Ida Lupino, Olivia de Havilland and George Tobias, Hattie McDaniel and Willie Best strut their stuff in Ice Cold Katie, and so on. Highlights include Errol Flynn's That's What You Jolly Well Get, an English music hall-style sendup of Flynn's movie heroics, and Bette Davis' peerless (and endearingly off-key) rendition of They're Either too Young or Too Old. As a bonus, Humphrey Bogart shows up long enough to be browbeaten and intimidated by S.Z. Sakall ("Gee, I hope none of my movie fans see this!" moans Bogart as the soundtrack plays a mocking rendition of Who's Afraid of the Big Bad Wolf?) Subtle and sophisticated it isn't, but Thank Your Lucky Stars is so entertaining that you'll forget all about its multitude of flaws. ~ Hal Erickson, Rovi